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THE FLUTE MUSIC OF YUKO UEBAYASHI:
ANALYTIC STUDY AND DISCUSSION OF SELECTED WORKS
by
PEI-SAN CHIU
Submitted to the faculty of the
Jacobs School of Music in partial fulfillment
of the requirements for the degree,
Doctor of Music
Indiana University
July 2016
ii
Accepted by the faculty of the
Indiana University Jacobs School of Music,
in partial fulfillment of the requirements for the degree
Doctor of Music
Doctoral Committee
______________________________________
Thomas Robertello, Research Director
______________________________________
Don Freund
______________________________________
Kathleen McLean
______________________________________
Linda Strommen
June 14, 2016
iii
ACKNOWLEDGEMENTS
Thanks to my flute professor Thomas Robertello for his guidance as a research
director and as mentor during my study in Indiana University. My appreciation and
gratitude also expressed to the committee members: Prof. Kathleen McLean, Prof. Linda
Strommen and Dr. Don Freund for their time and suggestions.
Special thanks to Ms. Yuko Uebayashi for sharing her music and insight, and being
cooperative to make this document happen. Thanks to Prof. Emile Naoumoff and Jean
Ferrandis for their coaching and share their role in the creation and performance of this
study. Also,I would also like to thank the pianists: Mengyi Yang, Li-Ying Chang and Alber
Chien. They have all contributed significantly to this project.
Thanks to Alex Krawczyk for his kind and patient assistance for the editorial
suggestion. Thanks to Satoshi Takagaki for his translation on the program notes.
Finally, I would like to thank my parents Wan-Chuan Chiu and Su-Jen Lin for their
constant encouragement and financial support, and also my dearest sister, I-Ping Chiu and
my other half, Chen-Wei Wei, for everything.
iv
TABLE OF CONTENTS
ACKNOWLEDGEMENTS ....................................................................................................................... iii
TABLE OF CONTENTS..........................................................................................................................iv
LIST OF EXAMPLES ............................................................................................................................... vi
LIST OF TABLES ....................................................................................................................................... x
CHAPTER I: INTRODUCTION.............................................................................................................. 2
Yuko Uebayashi’s Biography ........................................................................................................................ 2
Life in Japan and life in Paris ........................................................................................................................ 5
CHAPTER II: THE MUSIC OF YUKO UEBAYASHI ........................................................................ 10
Compositional Inspirations........................................................................................................................ 10
Imagery ........................................................................................................................................................................... 10
Ties to the musician ................................................................................................................................................... 13
Philosophy of music and Composition style ........................................................................................ 15
Other Factors Affecting Uebayashi’s Music .......................................................................................... 17
Composition Process .................................................................................................................................... 18
CHAPTER III: A ROMANCE OF ORCIA ............................................................................................ 20
Conception and Premiere ........................................................................................................................... 20
Compositional Inspiration.......................................................................................................................... 21
Flutist – Nobutaka Shimizu ..................................................................................................................................... 21
Pianist – Jean-Michel Damase ................................................................................................................................ 22
Score analysis with commentary ............................................................................................................. 24
I. Blue Dawn ................................................................................................................................................................... 24
II. Piazza .......................................................................................................................................................................... 29
v
III. Getting Dark ............................................................................................................................................................ 32
IV. Passing ....................................................................................................................................................................... 35
CHAPTER IV: FLUTE SONATE .......................................................................................................... 41
Compositional Inspiration.......................................................................................................................... 41
Flutist – Jean Ferrandis ............................................................................................................................................. 42
Pianist – Emile Naoumoff ........................................................................................................................................ 43
Conception and Premiere ........................................................................................................................... 44
Score Analysis with Commentary ............................................................................................................ 45
I. Lento – Allegro moderato ...................................................................................................................................... 46
II. Presto .......................................................................................................................................................................... 54
III. Calmato ..................................................................................................................................................................... 57
IV. Allegro ....................................................................................................................................................................... 60
CHAPTER V: LE MOMENT DU CRISTAL ......................................................................................... 66
Conception........................................................................................................................................................ 66
Premiere ........................................................................................................................................................... 67
Compositional Inspiration.......................................................................................................................... 68
Flutist – Seiya Ueno .................................................................................................................................................... 68
Score analysis with commentary ............................................................................................................. 68
CHAPTER VI: CONCLUSION ............................................................................................................... 77
BIBLIOGRAPHY .................................................................................................................................... 79
APPENDIX: LIST OF FLUTE WORKS BY YUKO UEBAYASHI ................................................... 82
vi
LIST OF EXAMPLES
A Romance of Orcia: I. Blue Dawn
Example 3.1.1, mm. 1-4: piano accompaniment .............................................................. 25
Example 3.1.2, mm. 3-16: theme A .................................................................................. 25
Example 3.1.3, mm. 13-17: countermelody on piano ....................................................... 26
Example 3.1.4, mm. 53-59: piano interlude, theme T ...................................................... 26
Example 3.1.5, mm. 60-84: theme B, whole tone scale .................................................... 27
Example 3.1.6, mm. 159-176: flute cadenza .................................................................... 28
Example 3.1.7, mm. 176-177 ............................................................................................ 28
Example 3.1.8, mm. 178-190 ............................................................................................ 28
Example 3.1.9, mm. 213-215 ............................................................................................ 29
A Romance of Orcia: II. Piazza
Example 3.2.1, mm. 1-4: motive a .................................................................................... 30
Example 3.2.2, mm. 32-39: transition............................................................................... 31
Example 3.2.3, mm.40-45: motive b................................................................................. 31
Example 3.2.4, mm. 117-123: motive c ............................................................................ 32
A Romance of Orcia: III. Getting Dark
Example 3.3.1, mm. 1-5: piano introduction .................................................................... 33
Example 3.3.2, mm. 8-23: theme A .................................................................................. 33
Example 3.3.3, theme B (a: mm. 68-75, b: mm. 75-80, c: mm. 81-87) ............................ 34
Example 3.3.4, Dies Irae ................................................................................................... 34
Example 3.3.5, mm. 119-122, theme A and theme B in section C ................................... 35
Example 3.3.6, mm. 157-158, 162-164 beginning and final motive ................................ 35
vii
A Romance of Orcia: IV. Passing
Example 3.4.1, mm.1-6: motives in introduction ............................................................. 36
Example 3.4.2, mm. 23-31: theme A ................................................................................ 37
Example 3.4.3, mm. 33-36: theme A’ ............................................................................... 37
Example 3.4.4, mm. 47-50: theme T (flute) and motive T (bass rhythm) ........................ 38
Example 3.4.5, mm. 79-82: motive T and theme T in 2nd
transition ................................ 38
Example 3.4.6, mm. 123-126: motive T in 3rd
transition .................................................. 38
Example 3.4.7, mm. 63-69: theme B ................................................................................ 39
Example 3.4.8, mm. 131-138: theme B’ ........................................................................... 39
Flute Sonate: I. Lento – Allegro moderato
Example 4.1.1, mm.1-7 ..................................................................................................... 47
Example 4.1.2, mm. 3-7: flute opening phrase ................................................................. 48
Example 4.1.3, mm. 17-21 ................................................................................................ 48
Example 4.1.4, mm. 3-4 and mm. 11-12: color change under the same note ................... 49
Example 4.1.5, mm. 20-28: first theme ............................................................................ 49
Example 4.1.6, mm. 60-67: second theme ........................................................................ 50
Example 4.1.7, mm. 86-90: flute part ............................................................................... 50
Example 4.1.8, mm. 97-102: mixed theme ....................................................................... 51
Example 4.1.9, mm. 108-111: first theme in Scherzo style .............................................. 51
Example 4.1.10, mm. 121-124: second theme in the style of 1st theme ........................... 52
Example 4.1.11, mm. 121-138: breathing suggestion ...................................................... 52
Example 4.1.12, mm.137-142 ........................................................................................... 53
Example 4.1.13, mm. 181-184 .......................................................................................... 53
viii
Example 4.1.14, mm. 206-215 .......................................................................................... 54
Flute Sonate: II. Presto
Example 4.2.1, mm. 1-5 .................................................................................................... 55
Example 4.2.2, mm. 6-9: motive A ................................................................................... 55
Example 4.2.3, mm. 66-73: motive B ............................................................................... 55
Example 4.2.4, mm. 166-170 ............................................................................................ 56
Example 4.2.5, mm. 82-90 ................................................................................................ 57
Example 4.2.6, mm. 136-144 ............................................................................................ 57
Flute Sonate: III. Calmato
Example 4.3.1, mm. 1-4: theme A/ first chord ................................................................. 58
Example 4.3.2, mm. 5-8: theme B .................................................................................... 58
Example 4.3.3, mm. 26-31: theme C ................................................................................ 59
Example 4.3.4, mm.32 and Five-note motive from 1st movement ................................... 59
Example 4.3.5, mm. 28-36: breathing suggestion ............................................................ 60
Flute Sonate: IV. Allegro
Example 4.4.1 (A) mm. 4-5: principal Theme on Flute.................................................... 61
Example 4.4.2, mm. 1-3: rhythmic motives on piano ....................................................... 61
Example 4.4.3, mm. 37-40: theme A’ in section B ........................................................... 62
Example 4.4.4, mm. 52-56 ................................................................................................ 62
Example 4.4.5, mm. 58-60: theme B on flute ................................................................... 62
Example 4.4.6, mm. 115-117 ............................................................................................ 63
Example 4.4.7, mm.158-161: last part of section C.......................................................... 64
ix
Le Moment du Cristal
Example 5.1, mm. 1-2 ....................................................................................................... 69
Example 5.2, mm. 1-15: first theme on flute .................................................................... 70
Example 5.3, mm. 30-33: second theme ........................................................................... 71
Example 5.4, mm. 70-75: first theme on flute and second theme on piano ...................... 71
Example 5.5, mm. 102-105: motive c in section B ........................................................... 72
Example 5.6, m. 117 and m. 130: hemiola ....................................................................... 72
Example 5.7, mm. 143-146: motive d in section B .......................................................... 73
Example 5.8, mm. 238-268: flute cadenza ....................................................................... 74
Example 5.9, mm. 267- 275: motive f in section C .......................................................... 75
x
LIST OF TABLES
A Romance of Orcia
Table 3.1 Form of Blute Dawn ......................................................................................... 24
Table 3.2 Form of Piazza .................................................................................................. 30
Table 3.3 Form of Getting Dark ....................................................................................... 32
Table 3.4 Form of Passing ................................................................................................ 36
Flute Sonate
Table 4.1 First Movement Form: Lento – Allegro moderato............................................ 46
Table 4.2 Second Movement Form: Presto ...................................................................... 55
Table 4.3 Third Movement Form: Calmato ...................................................................... 58
Table 4.4 Fourth Movement Form: Allegro ...................................................................... 60
Le Moment du Cristal
Table 5.1 Structure ............................................................................................................ 69
2
CHAPTER I: INTRODUCTION
Born in Kyoto, Yuko Uebayashi is a Japanese composer, recognized as one of the
leading female composers in the flute world today. Her works are frequently performed all
around the world, including Asia, Europe and the United States. To date, Uebayashi has
written more than fifteen works for the flute in a variety of genres, including solos,
chamber works and one concerto. Uebayashi’s flute works have continued to stand out in
the flute world mainly due to her unique compositional style, which is inspired through ties
she has with various performers.
Since there has been little scholarly research done about Yuko Uebayashi and her
music, the goal of this document is to thoroughly examine the composer’s biographical
background to see how Uebayashi’s background influenced her compositions. The selected
pieces for this document are; A Romance of Orcia, Sonate pour flûte et piano and Le moment
du Cristal. These pieces were composed for three specific flutists, Nobutaka Shimizu, Jean
Ferrandis and Seiya Ueno, respectively.
Yuko Uebayashi’s Biography
The composer Yuko Uebayashi was born in Kyoto, Japan. She was the oldest of three
children. Uebayashi was raised in a non-musical family, where her father was a prosecutor
and her mother was a housewife. At the age of four, Uebayashi started playing piano in an
after-school community music program, where she discovered her passion for music. One
year later, she enrolled in a music academy for children associated with the Kyoto City
University of Arts, where she continued her musical study until junior high school. In this
program, Uebayashi started learning solfege, and joined a composition class at the age of
3
ten. Before enrolling in the composition class, Uebayashi had already started composing on
her own. Her first composition was a song inspired by a book about a disobedient dog and
was performed on piano by herself in a party for her elementary class. This was the pivotal
point where her talent in composition was first recognized.
Once this talent was recognized Uebayashi, however, decided to stay enrolled in
public school instead of going through the typical traditional Japanese music education. In
Japan, many talented young musicians are sent to precollege music programs. However,
instead of entering such a competitive and stressful music school, Uebayashi chose to go to
the public school and continue taking piano and composition lessons in private. According
to Uebayashi, it was very important for her to gain life experiences during adolescence,
without having the stress of being in a competitive music environment. During this time
she built really close relationships with friends and lifelong mentors that became the most
supportive and inspiring people in her career. She claimed that the adolescence period was
the most influential part that inspires and energizes her composition.1
Yuko Uebayashi’s formal music training started when she was accepted to Kyoto
City University of Arts, where she majored in composition and studied with Ryohei Hirose2
and Komei Abe3. Uebayashi was able to create her own compositional voice with the help of
her mentor and most influential teacher Ryohei Hirose. Uebayashi and Hirose met each
other during Uebayashi’s sophomore year of college in 1977, where Hirose joined Kyoto
City University as a visiting professor from Tokyo. Hirose immediately noticed Uebayashi’s
1Uebayashi, interviewed by author in New York, NY, 24 March 2015. 2Ryohei Hirose 広瀬量平 (1930-2008) was a Japanese composer, best known for his compositions for shakuhachi and recorder. 3Komei Abe 安部幸明(1911-2006) was a neo-classical Japanese composer who specialized in string quartets. He also played cello and clarinet.
4
talent, but perceived her insufficient technical skills for orchestral or large ensemble
writing. Hirose choose not to tell Uebayashi at that time of her problems, but let her grow
in her way allowing her personal style to develop without restriction. The turning point in
Uebayashi’s career was one or two years after her graduation when Uebayashi brought a
piece she wrote for a mandolin ensemble to Hirose. He directly pointed out the weakness of
the work and advised her to rebuild her fundamentals. After the meeting, Uebayashi
determined to stop all commissions and rejected all arrangement requests so she could
start over.
After this disappointment Hirose introduced Uebayashi to study privately with
Masazumi Fujishima4, who later became emeritus professor of Kyoto University of
education. Fujishima taught her basics of composition, including harmony, fugue,
counterpoint and orchestration. During this time, Uebayashi went back to Kyoto City
University to audit Hirose’s class and review music fundamentals. Hirose told Uebayashi,
“When you do fundamental exercises, do not just avoid making mistakes. You have to do
your best and show the most refined writing you can do. Only then can the teacher help you
grow and that is what you really need.” Besides Hirose continuing to support and help
Uebayashi by bringing her different recordings to broaden her artistic horizon he also
taught her about the history of Kyoto and the art of architecture. Hirose said, “When you
cut one diamond into pieces, there are still diamonds. That is how a good composition
should be like, each phrase, each measure or even just one note, every aspect of the
composition needs to be perfect.”5
4Masazumi Fujishima 藤島昌寿 is a Japanese composer, well known for his chorus compositions. He is also a co-author of Japanese counterpoint textbook published in 2003. 5Interview in New York 24 March 2015.
5
Using this quote as a motto, Uebayashi worked diligently for several years on the
basics of composition without publishing any new works. The next time she presented a
new work was at the Kyoto Young Composers’ Presentation Series, later named Kyoto
International Music Festival. She participated in this festival in 1987-1990 and in 1994.
Upon the completion of her first submission, Uebayashi’s compositional style grew to be
more contemporary. Her works included atonality, extended techniques, experimental
sound and a high degree of complexity. She also composed for an interesting combination
of instruments: three cellos and two piccolos.
After submitting all these compositions and getting positive feedback from critics,
Uebayashi started to question the meaning of her compositions. She believed her music
should not only be for an elite group of musicians, composers and critics, but for anyone to
be able to perform and enjoy. Around 1991, a friend of Uebayashi, who was an Irish
painter, commissioned Uebayashi to compose a piece for the opening of an art exhibition.
This time, Uebayashi decided to free herself from the compositional techniques she had
learned before, but instead only focused on the friend she was writing for. This was the
turning point in her career that brought her back to tonality and further developed her
compositional style.
Life in Japan and life in Paris
Japan
Following the success of Uebayashi’s compositions at the Kyoto Young Composers’
Presentation and the popularity of her latest tonal compositions, Uebayashi began having a
very successful career as a freelance composer in Kyoto. During this time Uebayashi was
composing for commissions and also arranging music for various film scores. She was so
6
busy that she even turned down a college teaching position, but still decided to teach
composition lesson privately so she could continue to compose fulltime. Having this
freedom in her schedule later allowed her to start arranging music for “Umibue-no-kai”6, a
Japanese Flute Orchestra. It was from here that Uebayashi fell in love with arranging and
composing for flute. To this day she still works with this group and has currently arranged
over fifty works for them. In March of 1997, she planned the “Sound of Flute Floating on A
Lake” concert at Izumi Hall in Osaka with Umibue-no-kai, where she presented five original
compositions. In the same year, Umibue-no-kai released an album entitled “Four Season of
the Lake”7, conducted by Akira Aoki and Nobutaka Shimizu of only original compositions
and arrangements done by Uebayashi.
During a rehearsal for “Four Seasons of the Lake” by “Umibue-no-kai”, the principal
flute of Kyoto Symphony, Nobutaka Shimizu, went to listen and offered comments to the
group. Uebayashi was impressed by how Shimizu perfectly understood her music and
interpretation. It was from this moment that Uebayashi and Shimizu started working
closely together on many new projects that lead Uebayashi to meet composer Jean-Michel
Damase ultimately leading her to move to Paris.
Paris
A year before Uebayashi moved to Paris she took a trip with her family in the spring
of 1997. Uebayashi, through being introduced by Shimizu, met Jean- Michel Damase during
this trip. After being in touch for about a year, Uebayashi and Damase in 1998 organized
6Umibue-no-kai 湖笛の会, founded by a group of female flutists in 1982, based in Shiga, Japan. http://www.umibue.com/profile.html (accessed March 10, 2016) 7Yuko Uebayashi and Chiaki Yoshida, Four Season of the Lake 湖の四季, Umibue-no-kai conducted b
y Akira Aoki and Nobutaka Shimizu, Dolce Music Production DOL1003, CD, 1997.
7
joint concerts throughout Japan and Paris showcasing Nobutaka Shimitzu on the flute and
Jean-Michel Damase on the piano. Uebayashi dedicated Le Vent À Travers Les Ruines and A
Romance of Orcia to both musicians who premiered the works during the tour. Pierre Petit,
the ex-principal of the Ecole Normale de Musique, highly praised the concert in Paris as
being “an extremely appealing concert.” Le Vent À Travers Les Ruines was immediately
published by Lemoine Company in Paris and later became the test piece for the
International U.F.A.M (Union des Femmes Artistes Musiciennes) Competition in France.
Following the successful concert tour with Shimizu and Damase, Uebayashi moved
to Paris, where she now has lived for seventeen years. When I asked her during an
interview why she moved, she said there were three reasons. First, Paris is a lively city that
has the past and the present. She always loves to visit cities with the same features,
preserving historic culture while still prospering in modern life. Secondly, Uebayashi
wanted to meet more musicians and was eager for new inspiration. She strongly feels that
the musicians she had met are vital to her compositions, and she wanted to explore more
musicians outside of Japan. Last but not the least, Uebayashi wanted to refresh herself by
experiencing a new environment. She believed Paris would affect her perception of her
own music and help her to see things differently. On a non-musical note, this move
occurred when Uebayashi’s six year-old son was about to go to the elementary school, and
she thought that it would be a great time to have a new start. With the support from her
husband, Mr. Jiro Shindo, the family moved from Kyoto to Paris. From then on, she focused
solely on her own compositions and family.
During Uebayashi’s time in Paris she has actively engrossed herself in composition,
composing Dialogue with the waves for trumpet and piano in 1999, Les Sentiers – A
8
Sketchbook for flute and piano in 2000, La Romance des Etoiles for flute and harp, and Au
Delà Du Temps for two flutes and piano in 2002. Au Delà Du Temps was the first piece
Uebayashi wrote for her friend Jean Ferrandis. After working closely with each other,
Uebayashi dedicated more pieces to him, including Sonata (2003), Suite (2004), and
Concerto (2006). Uebayashi’s music has been frequently programed in the U.S. because of
Jean Ferrandis performing Au Delà Du Temps with Carol Wincenc at the 2006 National
Flute Association in Pittsburgh. Ferrandis also performed her Concerto in the gala concerto
concert at the 2011 NFA convention in Charlotte. Here is the review by Erinn Frechette of
the Nation Flute Association website8:
Ferrandis played with a tone and lightness of technique that was reminiscent of Rampal. His posture and body positioning are so natural that he barely moves while playing. For someone to make it through the grueling technical passages found in Uebayashi’s concerto while remaining that calm and relaxed was a breathtaking sight to behold.
Uebayashi’s other commissioned works including Le moment du Cristal (2013) for
Seiya Ueno, recorded in the album Digital Bird Suite (2013) and Misericordia (2013) for
solo flute and string quartet written for Carol Wincenc to commemorate her 25th
Anniversary at the Juilliard School. Wincenc’s and Uebayashi’s relationship has also led to
Wincenc preparing and recording Uebayashi’s, pieces; Town Light, Au Delà Du Temps and
Misericordia for an album to be recorded starting in March of 2015.
Another notable commission, outside of her flute works, is Voiz à travers la forêt
pour deux hautbois et piano (Voice across the forest for two oboes and piano), requested by
Keisuke Wakao, the Assistant Principal Oboe of the Boston Symphony Orchestra. Keisuke
8http://www.nfaonline.org/Annual-Convention/Convention-Chronicles/Convention-Chronicle.aspx?ChronicleID=137 (Accessed March 10, 2016)
9
Wakao and Maurice Bourgue premiered this work in March 2015 to a warm reception.
Uebayashi is also currently working on a cello sonata, and future projects include
composing a string quartet for The Escher Quartet.
10
CHAPTER II: THE MUSIC OF YUKO UEBAYASHI
Compositional Inspirations
Carol Wincenc, Professor of Flute at Juilliard who was awarded the 2011 Lifetime
Achievement Award from the National Flute Association, described Uebayashi’s music as
“Debussy and Ravel meet in Nippon,” “a true resonance between the musical cultures that
she is a master at portraying.”9 This quote by Wincenc puts into words the impressionistic
music influence heard in Yuko Uebayashi’s music through her musical symbolism and
compositional techniques. Through interviewing, researching, and studying Uebayashi’s
music, I found that she is able to create her own distinct musical style through various
inspirations and her unique life experiences.
Imagery
One major influence of Uebayashi’s flute compositions is the use of imagery in her
programmatic compositions. Through my research, I discovered that landscape, light and
painting are common sources that inspire her music. The first examples found portrayed
the image of Kohoku, a lake north of Lake Biwa, in two different seasons. These
compositions are Hanagasumi (Flower Haze) and Meguri-Yuki (Snow that Rolls Around).
Here are the program notes Uebayashi provided about the two works10:
“ Hanagasumi is an image of spring in Kohoku, where lots of Sakura (cherry blossom
in Japanese) are blooming around. The changing of colors woven by petals, light, and water,
sometimes with light rain, and at other times the brilliance of Sakura illuminates the
9Keith Francis, Program notes: Carol Wincenc and The Escher String Quartet, September 1, 2014. http://newmarlborough.org/program-notes-carol-wincenc-and-the-escher-string-quartet/ 10Umibue-no-kai, Four Season of the Lake, CD, Dolce Music Production DOL1003, translated by
Satoshi Takagaki.
11
surface of the lake. Finally it comes to the end while the petals fall as if dancing with spring
breeze.
Meguri-Yuki portrays snow falling silently and glittering under the morning sun in
the most beautiful season in Kohoku, winter. Snow just keeps falling silently. That silence.
And the snow glittering in the morning sun is so white and bright.”
The next examples of imagery found in Uebayashi’s music appears in multi-
movement works based on landscape. The first composition is A Romance of Orcia. This
piece is based on the landscape of Orcia, the town located in the middle part of Italy.
Uebayashi visited this town on her spring trips almost every year inspiring her to compose
a four-movement work: Blue Dawn, Piazza, Getting Dark, and Passing. Another example is
found in Les Sentiers - a sketchbook for flute and piano. The five movements in this work are
entitled après la Pluie (A Road After the Rain), Au bord de l'eau (At the River Bank), Les
triangles et Les Carres (Triangle in the Road), sur le chemin du retour (On the Way Back)
and à travers les feuilles (A Path with Sunlight Peeking Between Leaves). If one only looks at
the title of each of these movements you can see that landscapes inspired this work.
Besides landscape, light was also a source of inspiration in Uebayashi’s
compositions. Light motives are presented in two of her flute chamber compositions, Town
Light and Au Delà Du Temps. Town Light was based on images of light at night, originally for
flute orchestra, Uebayashi later transcribed this work for two flutes and piano or flute,
oboe and piano. The composer’s original program notes on the piece are below11:
“The lights that are getting turned on in a scene while the sun is going down, and the lives of people there… It’s nostalgic, yet at the same time, a faint feeling for somewhere a far town crosses.”
11Ibid.
12
Contrary to the way Uebayashi uses light in Town Light, Au Delà Du Temps portrays four
different images of light, the first being La Lumière Lointaine De Nuit (Night, distant light),
the second La Lumière Dansante (Dancing light), the third La Lumière Blanche (White light),
and finally the fourth La Lumière Tournante Dans Le Rêve (In a dream, revolving light).
Light in this composition not only reveals her real world imagery, in the first three
movements, but also the memory/imagination of light in the last movement12.
Uebayashi composes with imagery in two different ways. The first is the simple idea
of imagery of things we can see and feel in our everyday life, for example, landscape, light,
and paintings. The other is more emotionally based. She does not simply depict the images
in her compositions, but rather transforms the inspiration she perceives from these images
into emotions. The most representative example of this imagery-based composition is seen
in, Le Vent À Travers Les Ruines (A breeze around ruins) – for flute solo. Here she depicts
the ruins of a monastery, similarly to the previous examples where the imagery was very
simple, but adds her own experiences of seeing these ruins through more complex
emotions she felt. One can examine her emotions more clearly through the poetic program
note at the premier13:
“No one questions why the monastery became a ruin. There may have been someone standing at the remains of the monastery or a cow walking by from somewhere, but no one asks the question why. Clouds move ever so slowly, butterflies fly, and sparking fluff dances in the sunlight. After many years, there still remain reddish brown stone. They just sit there. And the earth exists as if to embrace all matters, while nature repeats her cycle. A breeze floats by. Yes, I have become the wind that breezes through these ruins. I do not ask questions, and everything looks so gentle and glowing...”
12Yuko Uebayashi, L’œuvres pour flute, EuropeArt: Integral distribution CD, 2007. 13Nobutaka Shimitzu and Jean-Michel Damase, Music of Jean-Michel Damase and Yuko Uebayashi パリの煌めき, WWCC-7434. CD. 2002.
13
The latest work for flute, the Misericordia for Flute and String Quartet, was inspired
by a painting, “Madonna della Misericordia,” which she came across in Italy. The program
notes from the premier at Juilliard were:
“The Madonna’s arms were spread wide open, enfolding the many people following her in a protective embrace. In my mind’s eye, Carol (Wincenc) and that picture joined together and the music and angels just came to me!”
This type of inspiration found in the musicians Uebayashi is composing for leads us to the
next reason why her music is so unique.
Ties to the musician
Many of Uebayashi’s works were born after gaining inspiration from the ties
between her and various performers. Uebayashi turned down almost ninety percent of her
commissions because she could only accept commissions from the people with whom she
felt a strong connection to. The flutists Uebayashi found that strong connection to include;
Nobutaka Shimizu, Carol Wincenc, Jean Ferrandis and Seiya Ueno. The styles of each of the
pieces written for these flutists all vary based on the flutists own unique characteristics.
Uebayashi’s skills in composing combined the first concept of imagery/life
experiences tied together with the musician she was writing for. The first piece researched
was A Romance of Orcia, dedicated to Nobutaka Shimizu, a Japanese flutist. This was the
first flutist Uebayashi composed specifically for. Uebayashi said, “What gave me the image
for the music were the sweet and elegant fragrance and the wind-like speed as expressed
by the flute played by Shimizu.”14 Shimizu’s elegant playing style reminded Uebayashi of
14Ibid.
14
the beautiful scenery in Orcia and led her to compose a piece that showcases Shimizu’s
strengths of refined tone, tasteful vibrato, and crisp articulation in his melodic playing.
The next piece researched was Misericordia, where Uebayashi used the image of
Madonna della Misericordia to portray the personality of Carol Wincenc.
This quote from Uebayashi’s notes at the performance at Juilliard explains her concept of
the piece in terms of the imagery and performer15:
“While I was thinking about how to compose this work, I remembered the legends
from an old almanac, according to which life began in March and consisted of ten
months. Taking those ten months as a basis for my composition, I inserted Carol into
them and tried to express how I regard the beauty of this world and the wonder of
all living things. My earnest desire is that every time the music is played those
listening are left with an indelible reminder of her: the Carol who pours love on her
son, the Carol who gently smells the rose, the Carol who delights in being
surrounded by other musicians performing music, and the Carol who suffers by
living in this harsh world.”
The imagery described above was combined with the experiences Uebayashi had with
Wincenc. Uebayashi said that Wincenc always loves to embrace people and will savor time
spent whenever she can. This inspired her elongated melodic writing, and warm and
inviting character.
Most of Uebayashi’s commissions are composed in a similar format of having a
performer and life experience coincide. However, a turning point occurred after Uebayashi
finished Au Delà Du Temp, the first commission by Jean Ferrandis. He was the most
influential figure, persuading Uebayashi to write absolute music and to shy away from
writing program music.16 Ferrandis encouraged her to listen to her own voice, and explore
what was deep in her heart to write “her own music.” This request was very challenging for
15Keith Francis, Program notes: Carol Wincenc and The Escher String Quartet, September 1, 2014. 16Uebayashi, interviewed by author in Chicago, IL, August 8, 2014.
15
Uebayashi at that time. After an introspective period, she tried very hard to dig into herself
and composed the “Flute Sonate” for Jean Ferrandis and Emile Naoumoff. Uebayashi was
inspired by Ferrandis’s flute playing which she described as “The very soft, fine pianissimo,
akin to glasswork; a passionately eloquent and fiery forte, the instruments singing with
gentle, tender-hearted elegance.”17 Ferrandis’s playing allowed Uebayashi to compose in an
absolute style that not only showcased the performer’s technique, but also explored and
expanded the flute repertoire.
After Uebayashi’s successful attempt at creating absolute music she discovered
Seiya Ueno, the Grand-prix winner of 2008 Jean-Pierre Rampal International Competition.
He is one of the most talented flutists of the new generation and also the youngest flutist
Uebayashi has ever written for. Uebayashi heard Ueno play and immediately wanted to
capture the innocence and purity of this 23 year old in a work she called Le moment du
Cristal for Flute and Piano. Uebayashi said that she was trying to present the purity and
beauty, she found so precious in Ueno’s music. This work features the simplicity of the
beautiful melody with some virtuosic passages, showing the purity of the sound and
flawless techniques in Ueno’s performance.
Philosophy of music and Composition style
When one plays or listens to Uebayashi’s music for the first time, the sound suggests
an impressionistic style of music that might remind one of the Japanese films by Hayao
Miyazaki, whose most famous works include Spirited Away, Princess Mononoke, etc. From
the geographic perspective, French impressionist music and Japan film music are both
17Yuko Uebayashi, L’œuvres pour flute, EuropeArt: Integral distribution CD, 2007
16
related to Uebayashi’s life experiences in both Paris and Kyoto. From the point of view of
music theory, Uebayashi’s music has mutual features such as the use of diatonic modes,
ostinatos, non-functional tertian chords, frequent modulations and transitional passages.
These are all similarities to impressionistic composers seen by many performers including,
Carol Wincenc, who describes Uebayashi’s music as “Debussy and Ravel meet in Nippon.”18
Nevertheless, Uebayashi claims that her intention is not to compose in the style of
certain composers, but instead to compose with her feelings and emotions. This statement
by Uebayashi, however, is the exact definition of impressionism. Impression is based on
"conveying the moods and emotions aroused by the subject rather than a detailed tone‐
picture."19 Her philosophy of music conforms to the spirit of Impressionist music.
Debussy’s impressionistic work typically “evoke a mood, feeling, atmosphere, or scene” by
creating a musical images through motives, harmony, exotic scales, instrumental timbre
and other elements,20 which can also be found in Uebayashi’s flute music. Uebayashi
declared in an interview that the color change and emotional expression are the priority in
her compositions. She wants to write music that evokes different emotions that people
could enjoy.
As matter of a fact, Uebayashi’s flute music consists of tonalities, playful motives,
and romantic melodies, which is approachable and enjoyed by most audiences. Similar to
the style of Hayao Miyazaki’s Films music composed by Joe Hisaishi, they both have
beautiful but euphemistic melodies, transporting the emotional expression such as delicate
18Keith Francis, Program notes: Carol Wincenc and The Escher String Quartet, September 1, 2014. 19Michael Kennedy, "Impressionism" in The Oxford Dictionary of Music, second edition, revised, Joyce Bourne, associate editor (Oxford and New York: Oxford University Press, 2006). 20J. Peter Burkholder, Donald Jay Grout and Claude V. Palisca, A History of Western Music, eighth edition (New York: W. W. Norton & Company, 2010)
17
sentiment or simply joyfulness directly connected to the audience. Nevertheless, they are
still different and have their own characters. The “Signature”of Joe Hisaishi is the unique
chord progression: vi, V, IV, I6, (ii, IV, V).21 On the contrary, Uebayashi was not a fan of
functional harmony. She uses the drone, ostinato, tonal centricity, repeats the melodies by
transposing up or down commonly stepwise and bitonality.
This relationship between emotions and accessibility to audiences was praised by
the French flutist, Jean Ferrandis, as gems of the music world: “Although [Uebayashi’s
compositions] are so different, they yet belong to the same world, a world of vivacity,
dreams, tenderness, humor, and one that is subtly contradicted by vehemence, virtuosity,
melancholy and sorrow. Yuko Uebayashi’s “fairy-tale” music has one aim, that by providing
pleasure and emotion, which makes her music so unique, there always needs to be a
relation to her feelings/experiences, and the inspiration she gets from other musicians.”22
Other Factors Affecting Uebayashi’s Music
Besides the factors mentioned above, Uebayashi’s works are also affected by
Japanese popular music. During an interview when I asked Uebayashi who had the most
influence in her music career, excluding the professionals she had worked with, without
any hesitation, she told me “Julie, my favorite singer!” Julie is the nickname of a Japanese
pop singer, Kenji Sawada, who is also a composer, lyricist and actor. As the leading vocalist
of the band “The tigers”, Sawada prospered greatly in Japanese popular culture during the
21Robert O. Rusli. “Hisaishi’d Away: An Analysis of Joe Hisaishi’s Film Scoring Technique” (BA thesis, Wesleyan University, 2010), 17-20. 22Yuko Uebayashi. Sonate pour Flute et Piano. Paris: Leduc. 2012
18
last three decades of the Showa era.23 Uebayashi believed that she was influenced by the
music of Kenji Sawada, or Koichi Sugiyama, who composed a lot of the music for Sawada.
Sawada’s music has been rooted so deeply in Uebayashi’s mind that it must have taken an
affect on her melodic writing. For example, one can listen to her favorite songs including
Ginga no Romance, Ochiba no momogutair and Monariza no hohoemi24 and find similarities
in their melodic lines.
Besides pop music, Uebayashi clears her mind with other forms of art when she
composes. Sometimes she will read a book of Banana Yoshimoto25, one of her favorite
writers, for a few paragraphs. “The words are so beautiful and the writing is natural and
pure, I always read it to clean my heart.” Uebayashi loves reading, it is more than just a
leisure activity for her. In addition to Yoshimoto, Kunio Tsuji26 is another of her favorites.
She uses their words to remind her of the purity of art and that allows her to continue to
compose in that same manner.
Composition Process
All these different avenues then lead Uebayashi to the actual act of composing. The
time line for her compositions will be ninety percent preparation, and the last ten percent
to compose. After Uebayashi decides she can trust the performer performing her music
accurately and faithfully, she will spend a day or two discussing with the musician what
kind of piece she will be writing for them and the preparation stage of her compositional
23http://avexnet.or.jp/jww/profile/index.html (accessed 20 September 2015) 24Ginga no Romance (銀河のロマンス/Galaxy of Romance); Ochiba no momogutair (落葉の物語
/Story of deciduous/falling leaves); Monariza no hohoemi (モナリザの微笑/Smile of Mona Lisa). 25Banana Yoshimoto is the pen name of Japanese writer Mahoko Yoshimoto 吉本真秀子(1964-) 26Kunio Tsuji 辻邦生(1925–1999) was a Japanese author, novelist, and scholar of French literature.
19
process will start. In the next chapter, we will explore and place emphasis on analyzing
three of Uebayashi’s compositions.
20
CHAPTER III: A ROMANCE OF ORCIA
Conception
A Romance of Orcia, dedicated to Nobutaka Shmizu and Jean-Michel Damase, was
written in 1998. The work includes four movements: Blue Dawn, Piazza, Getting Dark and
Passing and the total length is about twenty-three minutes.
Program notes by Uebayashi:27
When the first gale of spring comes along, I always set off the place where I named it “Orcia.”
Embraced in the beautiful field spreading yonder, I think of the lives of the people continuing for hundreds of years, and become overwhelmed by the beauty sought and created by these people. I cannot help but love even the run-down gate standing there.
But for this music piece, I cannot find any other word to describe it. Rather, I had express “Orcia,” for which I could not find words, in the form of a sound. However, as I sat down to write the music, the “Orcia” that I wanted to express so much began to rise up like a cloud, and no matter how much I chased after it, it somehow seemed to go further and further away from me. It took a long time for me to express such a feeling in the form of a sound.
What gave me the image for the music were the sweet and elegant fragrance and the wind-like pas expressed by the flute played by Shimizu, and the brilliant sound of the piano by Damase. Their music is my joy, and I am truly fortunate to have been able to compose for the two players.
Premiere
October 1998, Paris
Flute – Nobutaka Shimizu, Piano – Jean-Michel Damase
27Nobutaka Shimitzu and Jean-Michel Damase, Music of Jean-Michel Damase and Yuko Uebayashi, WWCC-7434, CD, 2002.
21
Compositional Inspiration
Flutist – Nobutaka Shimizu
Nobutaka Shimizu, principal flute of Kyoto Symphony Orchestra, started flute at age
nine where he later went on to study at the Toho Gakuen School of Music under Ririko
Hayashi and Ryu Noguchi. While still in the college, Shimizu started working professionally
at the young age of twenty with the Yomiuri Nippon Symphony Orchestra in Tokyo. Even
though he had much success in Japan after graduation Shimizu then decided to continue his
musical education by moving to New York in 1981 where he attended the Juilliard School of
Music with Julius Baker. Shortly after finishing his musical education at Juilliard Shimizu
was invited to join the Kyoto Symphony Orchestra as the Associate Principal Flute in 1986
where in 1995 he was appointed to his current position, Principal Flute.28
Shimizu is a very active soloist having been invited to flute conventions and festivals
in Brazil, France, England and US. Besides Shimizu’s playing he is also an active journalist
writing for Paibazu magazine in his own column "Shimizu seminar.” Shimizu can be heard
on several CDs, including the albums featuring composer Ryohei Hirose’s works: Ryohei
Hirose exhibition (1998) and World of Ryohei Hirose (2009) and on composer Kensaku
Shimizu’s CD released in 2010 featuring the flute and piccolo entitled, Umi (The Sea).29 He
also recorded the album Music of Jean-Michel Damase and Yuko Uebayashi with Damase on
the piano. (2002)
Shimizu is the Vice-President of the Japan Flute Association. He is also a flute
lecturer at Doshisha Women's College, Soai University, Kobe College of Music, Toho Gakuen
28 Ibid. 29 http://www.dolce.co.jp/academy/teacher/osaka/flute/shimizu.html (Access Feb. 3, 2016)
22
Orchestra Academy and a visiting professor at Showa University of Music and guest
lecturer at Kacho girl’s high school30
Pianist – Jean-Michel Damase
Jean-Michel Damase (1928-2013) was a French pianist, conductor and composer.
Born in 1928 in Bordeaux Damase first exposure to music was listening to his mother,
Micheline Kahn, a renowned harpist who premiered works by Fauré, Ravel and Caplet. This
early introduction to music helped expose Damase’s precocious musical talent, which was
seen in him at a very young age.31 At the age of five, Damase began the Samuel-Rousseau
courses in piano and solfège, which started his musical training. Then at the age of nine
Damase starting composing with setting music to poems, the first was titled "Poèmes
d'animaux," which was based on three poems written by Colette, a family friend who was a
female writer.32 At twelve, Damase continued his piano study at the École Normale de
Musique de Paris where he became a pupil of Cortot, moving on a year later to study with
Armand Ferté’s at the Paris Conservatoire.33 During his time at the conservatoire, Damase
received numerous awards including being unanimously awarded the Premier Prix in
piano in 1943.
Damase’s officially started studying composition two years after winning the
Premier Prix in piano. His main teachers were Henri Büsser with additional studies in
harmony and counterpoint with Marcel Dupré. This culminated with Damase winning the
30 Ibid. 31 https://www.henry-lemoine.com/en/compositeurs/fiche/jean-michel-damase 32 http://www.chezdamase.com/ (Access November 23, 2015) 33 Ibid.
23
first prize in composition with his Quintet (flute, harp, violin, viola, and cello) in 1947.
Damase also had success with his cantata Et la belle se réveilla where he won the Prix de
Rome, when he was only nineteen.
During this time Damase’s career as a pianist was also flourishing, he appeared as
soloist in the Colonne and Conservatoire concerts and with the Orchestre National de la
Radiodiffusion et Télévision Française (l'ORTF).
Damase’s professional career as a pianist culminated with him receiving the Grand Prix du
Disque for making the first completed recording of Fauré's Nocturnes and Barcaroles. After
this award Damase decided to devote himself completely to composition, never quitting the
piano, but changing his focus. Damase became very successful as a professional composer
being awarded the Grand Prix Musical de la SACD (Society of Dramatic Authors and
Composers) and the Grand Prix de la Ville Paris. Alongside Damase’s extravagant careers as
a performer and composer, Damase also was resident conductor at the Grand Théâtre in
Bordeaux in the 1970s where several of his works were performed.34
34Anne Girardot, "Damase, Jean-Michel" Grove Music Online/Oxford Music Online. Oxford University Press (accessed November 26, 2015)
24
Score analysis with commentary
I. Blue Dawn
The first movement of A Romance of Orcia, titled “Blue Dawn,” is marked Moderato
in 6/8 meter and can be seen as the prelude of Uebayashi’s whole work. The key signature
is two sharps and the music is written with diatonic scales, however, the frequent shifting
of chords and non-traditional use of harmonic progressions result in tonal ambiguity,
implying bitonality or modal-like music. The form of this movement is ABA with a flute
cadenza. (Table 3.1) There is no big contrast between sections, which means the motivic
development is very subtle. While the flute theme is more stationary, the chord changes,
bass movement, countermelody in the piano, and the arch of dynamic variations propels
the music in this movement.
Table 3.1 Form of Blute Dawn
Section A B A Cadenza Coda Letter B C D G J K M N O Measure 1 35 53 60 100 124 132 150 158 176 Motive A A’ T B B’ T A T B+A A” Key b/D b -- e/G C -- c -- -- F#
In the beginning, two chords (G major seventh and A major triad) are broken into
arpeggiated sixteenth notes running back and forth on the piano, generating a static flow.
(Example 3.1.1) This pattern is used throughout the entire movement, except in the flute
cadenza, creating a rhythmic consistency. The interest found in this movement then comes
from the changing of chord qualities. The opening chords can be regarded as the IV 7 and V
in D Major, while the flute theme is in B minor, representing one of Uebayashi’s
25
compositional styles – bitonality. The binary composition also can be seen in rhythm,
where the flute and piano’s right hand play in 6/8 and the left hand hints at being in 2/4.
Example 3.1.1, mm. 1-4: piano accompaniment
The flute line throughout this work is mostly stepwise, focusing on one or two notes.
Rather than an obvious melody the theme is mostly a prolongation of a few center notes,
labeled theme A. Take the first presentation of the theme A for example, the center notes in
mm. 3-28 are B and F sharp. (Example 3.1.2)
Example 3.1.2, mm. 3-16: theme A
During this section the melodic interest does not occur in the flute, but in the
countermelody in the piano’s right hand, where the higher notes on the off beats are always
tied to the downbeats, which shapes the music. (Example 3.1.3) When piano plays alone,
the melody is presented more vividly in a higher tessitura, labeled theme T (Example 3.1.4)
26
Example 3.1.3, mm. 13-17: countermelody on piano
Example 3.1.4, mm. 53-59: piano interlude, theme T
At [B], the use of the perfect fifth pedal and octave higher jump in the theme creates
a richer sonority that allows both parts to become more active. The arch of the passage is
built up from m. 35 on B and ended in m. 47 on F sharp. The intervals contained in this
theme, seconds and fourth/fifth, are the essential motives in this movement. These
intervals are derived from the first four notes of the piece, which will be utilized
melodically and harmonically later.
Starting at [C], a quasi piano interlude, the bass in the piano becomes more active,
joined by a new rhythmic motive on the flute – hemiola (Example 3.1.5), starting at [D]
labeled section B. This is a climbing passage in a whole tone scale, beginning on E (m. 60),
27
to F sharp (m. 66), G sharp (m. 68), B flat (m. 77), and C sharp (m. 80) all through a
crescendo, then finally closes on F sharp at [E]. The similar way is done in prolongation at
[G] (mm. 100-128), except the dynamic does not drop down in the end but crescendo to the
next climax at [K], recapitulating theme A in G minor. Then the theme is repeated a fifth
lower in C minor in m. 140 that ends on descending fifth gesture to F in m. 150.
Example 3.1.5, mm. 60-84: theme B, whole tone scale
After a small piano interlude (theme T), the flute cadenza starts in m. 158. Again, the
structure of the cadenza is an ascending whole tone scale with a descending fifth closure.
This section begins on E (m. 158), moving up the whole tone scale to F sharp (m. 161), G
sharp (m. 164), A sharp (m. 166), C (m. 168) and D (m. 173), then stopping on G (m. 175)
(Example 3.1.6).
After the flute cadenza, the last part of the movement recalls the music from the
beginning through common texture. However, the piano accompaniment is set on the tonic
triad of F sharp with the passing VI7, and the flute theme is centered on C sharp (example
3.1.7 and 3.1.8), creating the same tonal center: F sharp major in two voices instead of the
bitonality seen in the beginning.
28
Example 3.1.6, mm. 159-176: flute cadenza
Example 3.1.7, mm. 176-177
Example 3.1.8, mm. 178-190
Toward the end of the movement, the flute theme loses rhythm intensity and moves
lower in its range, while the piano keeps its rhythmic integrity and ascends in its register
until finally taking over the treble clef. The bass is written in open fifths (F sharp and C
29
sharp), gradually slowing down and finishing on the chord of C sharp/D sharp/F sharp,
which comprised the vital motivic elements of the piece through the second and
fourth/fifth intervals. This is also seen in the last 32nd notes of this movement, where
Uebayashi used the Neapolitan chord in the arpeggio with the resolution tonic fifth on a
very high C sharp, creating a special effect for the ending as if the music evaporate into the
air. (Example 3.1.8)
Example 3.1.9, mm. 213-215
II. Piazza
The second movement is “Piazza,” labeled Allegro composed in a clear rondo form in
D major: ABACA (Table 3.2). There is an obvious influence of the Minimalism in this
movement, with the endless repetition of patterns, static tonality and use of canons of
irregular length. In general, the left hand in the piano plays a steady ostinato pattern, and
the two upper voices, the flute and right hand of the piano, play a delightful uplifting motive
in canon. This movement is based more on motivic patterns than melodies, except for a
short theme in section C.
30
Table 3.2 Form of Piazza
Section A B A C A Letter B G K N Measure 1 40 84 117 159 Motive a b a c+a a Key D Eb–E–G-Mod. D F–Ab–Db–C D Dynamic p p – mp – mf pp < ff p, mp < f f -fff
In section A, the flute starts the motive joined by the piano one and half beat later.
(Example 3.2.1) This canon weakens the meter of this movement, and subjugates the
melody, however, the listener can still hear longer phrase because the bass and melody
meet on the downbeat every eight bars. In m.17, the motive is extended by two sixteenth
notes with accents and the canon is now repositioned to one beat apart instead of one and a
half, which hurries the music toward the transitional passage.
Example 3.2.1, mm. 1-4: motive a
The transition starts in m. 32, where the basic pattern was shorten from three-beat
to two-beat, increasing the frequency of the repetition. (Example 3.2.2) The frequency then
augments even more from one beat to half a beat apart until the glissando in m. 36. Here
31
the flute takes the line and leads to the unison in m. 38, with accents on the off-beats. The
same technique is applied to the next transition in mm. 108-116.
Example 3.2.2, mm. 32-39: transition
Section B starts in E flat major, an unusual key relationship for a Rondo. Uebayashi,
in this section, borrows small segments from section A and added new elements such as
sextuplets and dotted pattern to create a new theme. (Example 3.2.3) While irregular
values of rests were inserted within the patterns, section B is more playful and less intense.
Example 3.2.3, mm.40-45: motive b
The only lyrical theme presented in this movement appears in the flute during
section C (mm. 117-137). The piano stays pattern-oriented, by integrating the same
intervallic motive from the beginning in continuous sixteenth notes in the right hand, and
in the ostinato bass. (Example 3.3.4) Even the key signature stays in one flat, however, the
tonality is ambiguous in section C. For example, while the ostinato suggests F major, the
32
theme in the flute hints at C major due to the lack of F. The case of tonic and dominant keys
played simultaneously also can be seen in m. 125, where the ostinato is in A flat major but
the melody alludes to E flat major, then A major/E major in m. 131. The modulation is done
by adding the accidentals throughout the section instead of changing the actual key.
Example 3.2.4, mm. 117-123: motive c
III. Getting Dark
The third movement is entitled “Getting Dark” is in ternary form (Table 3.3), marked
Andante in 3/4. The outer sections of this movement stay in 3/4 with a clear setting of flute
melody with piano accompaniment, while the inner section is written in mix meter in a
Gregorian chant like style for both voices.
Table 3.3 Form of Getting Dark
Section A B C Letter C D G J K Measure 1 33 55 99 119 133 Theme A A’ B(unison) B(canon) A+B A’ Key C Maj. d – c d – g d – g – d g c – f - C Dynamic p <> pp p– pp– ppp– p mp – f ff > mp p < f > p
The eight-bar introduction by the piano sets up the atmosphere for section A, easy
and elegant. The piano plays accompanimental eighth-note in the left hand that always
33
starts with F-C on the downbeat for fourteen measures. (Example 3.3.1) The simple
ostinato makes the music peaceful and allows the right hand countermelody to be in
dialogue with the flute melody.
Example 3.3.1, mm. 1-5: piano introduction
The flute begins in m. 8, with four bars phrases divided up by legato lines, creating an arch-
like tune for sixteen-bars, labeled theme A. (Example 3.3.2)
Example 3.3.2, mm. 8-23: theme A
In section B (m. 55), the Gregorian chant-like theme is first introduced in the piano’s
right hand. This new theme consists of three motives (labeled theme B and motive a, b, c),
which are presented in unison by both instruments in mixed meters. (Example 3.3.2) The
music here becomes more calm and serene with the theme being reminiscent of the “Dies
Irae,” (Example 3.3.3) by sharing a similar yet not exact melodic contour.
34
Example 3.3.3, theme B (a: mm. 68-75, b: mm. 75-80, c: mm. 81-87)
Example 3.3.4, Dies Irae
In the second half of section B (m. 99), theme B is written in canon for both instruments.
The piano starts with motive a and flute joins a bar later with motive b. The texture grows
here by the addition of a second voice on piano and accents on the flute. This section is built
up by the use of a crescendo that leads to the climax of the movement at section C.
Section C is comprised of the motives from the previous two sections. While the
flute line is continuing with theme B in m. 119, theme A comes back in the piano’s right
hand in a different key and with different articulations. (Example 3.3.5)
35
Example 3.3.5, mm. 119-122, theme A and theme B in section C
At this point the music becomes more active and exciting by the constant sixteenth
note accompaniment combined with flourishing melismas in the countermelody. In m. 130,
the music starts to diminuendo, where the motions of both instruments slow down into the
last part of section C. The music calms down when the flute returns back to theme A’ in pp
in m. 135. Once the flute finishes its line the piano recalls a motive from the very beginning
in m.157, which is then repeated as closing material in the last two measures of this
movement. (Example 3.3.6)
Example 3.3.6, mm. 157-158, 162-164 beginning and final motive
IV. Passing
The last movement entitled “Passing” is marked Allegro in 2/4. The overall
structure is a palindrome with a short introduction: A-T-B-T-A-T-B-T-A (Table 3.4).
Uebayashi evokes a feeling of passing, like the title suggests, through her use of motives
and themes that sequence through many different keys. This passing motion allows for the
movement not to be set in a traditional tonality, except for a relatively b minor-focus
whenever theme A is presented.
36
Table 3.4 Form of Passing
Section Intro A T B T A T B T A
Letter A C D E F H J K M Measure 1 19 47 63 79 95 123 131 145 179 Theme PR A A’ T B T A A’ T’ B T A Key (B) b–C -- C/F -- b–C -- A/D -- f–b Dynamic p mf mp mp f mf f mp p ff
The essential motives of this movement are revealed in the piano introduction. The
first rhythmic motive is in the right hand of the piano where it repeats the same triplet
pattern throughout the introduction. The next motive is seen in the piano’s left hand where
a ten-note row can be seen: A#-G#-C#-B-A#-D#-C#-F#-B-C# (Example 3.4.1), this row is
repeated four times in different rhythm patterns in the introduction, labeled prime row.
After the repetitions of the prime row, Uebayashi uses the different segments as intervallic
and rhythmic motives to develop three different themes used in this movement.
Example 3.4.1, mm.1-6: motives in introduction
After the introduction the piano expands the first motive, the triplet pattern, to a
quintuplet pattern in the right hand labeled section A. The first theme of this movement
enters in m. 23 in the flute. Here the theme played by the flute is derived from a segment of
the prime row in retrograde, (B–F#–C#–D), which is labeled theme A. (Example 3.4.3) All
three reiterations of section A include theme A in b minor, however, only the first two
continue and modulate to C Major, which are labeled Theme A’ (Example 3.4.4).
37
Example 3.4.2, mm. 23-31: theme A
Example 3.4.3, mm. 33-36: theme A’
The main difference of this movement to the previous ones is Uebabyshi’s use of
the transition sections, specifically the frequency of which they occur. Throughout this
movement most the transitions consist of the same two motives yet all have their own
distinct characteristics, all labeled section T. The first appearance of section T starts in m.
47, where the flute begins the first common motive, labeled theme T (Example 3.4.4).
Melodically, theme T is borrowed from the last five notes of the prime row. The first two
notes are in the original key, but the last three are transposed down a whole step.
Throughout this transition section Uebayashi creates interest in this theme by modulating
the sequence in series of whole steps up: c# (m. 47)–d# (m. 51)–f (m. 55)–g (m. 57). The
other motive that surfaces from this transition is the rhythmic pattern located in the piano
left hand, labeled motive T. (Example 3.4.4)
38
Example 3.4.4, mm. 47-50: theme T (flute) and motive T (bass rhythm)
As mentioned earlier each subsequent transition is made up of the same material,
however, with different characteristics. In the second appearance the transition takes on a
different character by having theme T and motive T exchange voices starting in m. 79.
(Example 3.4.5)
Example 3.4.5, mm. 79-82: motive T and theme T in 2nd
transition
The third transition is the exception where theme T is not used. This forces motive T to
stand out as the rhythmic interest in mm. 123-130. (Example 3.4.6)
Example 3.4.6, mm. 123-126: motive T in 3rd
transition
39
Contrasting to sections A and T, the only lyrical passages seen in this movement
appears next, labeled section B. In both appearances of section B (m. 63 and m. 131), the
new thematic material, written in the flute part, is labeled theme B and theme B’. (Example
3.4.7 and 3.4.8) Theme B is made up of pentatonic scales that start in C that sequence down
to B flat. This is again used in theme B’, however, the sequence goes from D to F.
Example 3.4.7, mm. 63-69: theme B
Example 3.4.8, mm. 131-138: theme B’
In terms of overall tonality in theme B Uebayashi creates bitonality by having the piano
play in F major moving to Eb major while the melody is in C pentatonic moving to B flat
pentatonic, a relation of tonic to dominate heard between both voices. This bitonality is
also heard in theme B’ where the piano moves down a whole step every two bars while the
flute only moves from D to F creating many different relationships instead of one fixed
relation like in theme B.
Besides the melodic characteristics, the rhythmic motives also appear to be more
apparent than previous sections. This is due to the constant shifting between duple and
triple in the flute part and the rhythmic tension heard from this shifting over the consistent
sixteenth notes in the accompaniment. The differences between the rhythms in theme B
versus B’ is the elongation of the flute triplet in theme B’, which creates less rhythmic
tension than before.
40
A Romance of Orcia is one of Uebayashi’s earlier solo flute works, where one can
learn the composer’s general style and discover her unique use of thematic and harmonic
language. Through the analysis of A Romance of Orcia, the overarching idea that is present
in all the movements is her use of small motives. These short and simple motives composed
of rhythmic and melodic elements are presented early in each section and end up being the
building blocks for Uebayashi’s structure of each movement.
The music of A Romance of Orcia overall sounds very tonal and is based on well-
structured forms. The themes throughout are always written in diatonic or pentatonic
scales, but the scheme is often moving in a whole tone progression. Moreover, Uebayashi’s
harmonic idiom that is seen through her use of traditional tonality that is more focused on
the dominant, switching with non-functional harmony or bitonality. This creates music that
sounds very simple, yet has many color changes, which seem to be the predominant
characteristics of early Uebayashi’s flute compositions.
41
CHAPTER IV: FLUTE SONATE
Compositional Inspiration
The Sonate for flute and piano was written in 2002-2003, dedicated to Jean
Ferrandis and Emile Naoumoff. In June 1999, Ferrandis heard Uebayashi’s music for the
first time in a concert in Paris. He really liked her music but he did not reach Uebayashi to
ask for a commission until one year later. Uebayashi was very surprised about his request
and felt awkward, since she has never accepted a commission from a person she did not
know. However, after listening to Ferrandis’ unpublished CD “Music by Schubert”,
Uebayashi was stunned by the music of Ferrandis and Naoumoff. Uebayashi started
attending Ferrandis and Naoumoff’s concerts, which actually motivated her to compose for
them.35 The first piece dedicated to Ferrandis is “Au delà du Temps” (Transcending time)
for two flutes and piano. In the program notes, Uebayashi described her impression of the
music by Ferrandis and Naoumoff:
“In my mind, I only discovered the real Jean Ferrandis when he performed the sonata “Arpegione” with pianist Emile Naoumoff. The very soft, fine “pianissimo”, akin to the glass work; a passionately eloquent and fiery “forte”, the instruments singing with gentle, tender-hearted elegance, and above all the ultimately joyful “Allegro” I was able to set to work and composing “Transcending time.””36
35Uebayashi, interviewed by author in Chicago, IL, August 9, 2014. 36Yuko Uebayashi, L’œuvres pour flute, EuropeArt: Integral distribution CD, 2007.
42
Flutist – Jean Ferrandis
“It is Pan himself!” these were the words spoken by Leonard Bernstein upon hearing
Jean Ferrandis’s performance of the Adagio from Mozart’s D major concerto.37 Jean
Ferrandis, a French flutist, won numerous international competitions such as Munich,
Maria Canals in Barcelona, Young Concert Artists in New York, and was also awarded the
grand prize at the 1986 Prague Spring Festival International Flute Competition. He
graduated with the first prize from the Lyon Conservatoire, where he studied with Maxence
Larrieu in 1985.
“Jean always has love in his heart.” said Uebayashi. What Uebayashi found most
inspiring about Ferrandis was that his music is always connected to humanity, joy, sadness,
passion or tenderness, he could sing an eloquent and fiery “forte” or a very soft and fine
“pianissimo.”38 His performance is full of imagination and the affection is so direct to the
audience. Most important of all, the warmth of Ferrandis’ playing touches people’s heart.
“Every time I hear Jean Ferrandis, I actually forget he’s playing the flute. For me, only his
music exists. The charm, richness and variety of his expression immediately fill me with
happiness. He ceaselessly speaks to me; he smiles, suffers, questions and uses tenderness
to console.”39 To Uebayashi, Ferrandis is more than just a flutist but is a real musician. “This
sonata was his gift to me”, said Uebayashi.
37Arièle Butaux, Jean Ferrandis Biography, Jean Ferrandis Official Website. http://jean.ferrandis.free.fr/bio_eng.htm (accessed August 6 2015) 38Yuko Uebayashi, L’œuvres pour flute. 39Ibid.
43
Pianist – Emile Naoumoff
Born in Sofia, Bulgaria, Emile Naoumoff was regarded as a musical prodigy at age
five, first as a pianist and soon after in composition. At age seven, he became the last pupil
of Nadia Boulanger, who referred him as "the gift of my old age." Boulanger arranged for
Naoumoff to work many famous conductors, pianists, and composers, which lead to Lord
Menuhin conducting the premiere of Naoumoff's first piano concerto. Naoumoff performed
this piece as the soloist when he was ten years old.40 Recently, Naoumoff wrote a book
titled “My Chronicles with Nadia Boulanger”, which was translated into English by Gregory
Martin. It can be downloaded in his official website.
As a composer Naoumoff signed with the music publisher “Schott, Mainz” at age
nineteen and became the youngest composer on their roster. He composed over 60 opuses
released on 43 CDs.41
Naoumoff has collaborated with world-renowned musicians such as Jean-Pierre
Rampal, Gerard Souzay, Yo-Yo Ma, Gary Hoffman, Olivier Charlier, Patrice Fontanarosa,
Regis Pasquier, Philippe Graffin, Philippe Bernold, Gerard Caussé, Dominique de
Williencourt and the Fine Arts Quartet. The highlights of his performing career include a
Grieg Concerto with the Los Angeles Philharmonic at the Hollywood Bowl, and his own
piano concerto version of Moussorgsky's Pictures at an Exhibition with the National
Symphony Orchestra at the Kennedy Center in Washington D.C. under the baton of Mstislav
Rostropovich. He has received numerous awards, including the Médaille d'honneur de
Paris, an honor bestowed upon him by Jacques Chirac, and the Prix de Composition de
40Emile Naoumoff Biography. http://www.emilenaoumoff.com/ (accessed August 11, 2015) 41Union Of The Bulgarian Composers. http://www.ubc-bg.com/en/composer/82 (accessed Oct 5, 2015)
44
l'académie des Beaux Arts. Naoumoff has been a professor at Indiana University Jacobs
School of Music since 1998.
When Uebayashi decided to compose the Sonate, what actually inspired her to write
specifically for Naoumoff can be found in one of her sayings, “I really love his pianissimo
which evokes distant, peaceful world that could even be described as chaste yet tinged with
melancholy.”42 Uebayashi describes Naoumoff playing as if he is in musical heaven,
surrounded by a throng of invisible archangels, listening to their celestial song. “He seems
to experience true happiness when he plays. He makes me forget the daily grind, takes me
away from the all too real world, transporting me into his musical paradise. Emile
Naoumoff lightens my heart.”43
Naoumoff and Uebayashi’s relationship grew to include a transcription of Town light
(1997), originally for flute orchestra to two flutes and piano. Naoumoff also transcribed the
excerpt of this piece himself and performed the solo piano version in Benefit Concert for
Japan at Indiana University. The most recent activity was in 2016 January, Naoumoff
recorded Town light with flautists Carol Wincenc and Tanya Witek in New York.
Conception
“Throughout the four movements, my guiding mantra was to stay true to myself and
my music.”44 This was what Uebayashi described about her first flute piece ever composed
without a programmatic title or any image in her mind. In order to compose she had to
42Yuko Uebayashi, L’œuvres pour flute. 43Ibid. 44Ibid.
45
explore herself and dig out the emotion instead of her usual method of relying on an image.
Uebayashi started to work in September 2002 and finished in January 2003.
The Sonate consists of four movements: starting with a tender and sentimental slow
introduction, the first movement, Allegro Moderato, alternates between two themes; the
Presto, second movement, is reminiscent of a scherzo, featuring the contrast of playful
staccato and virtuosic legato; the third movement, which evokes the feelings of a song, is
graceful and calm; and the vibrant fourth movement is an energetic rondo.
Premiere
The first movement was entitled “Piece” and first performed on December 13th, 2002 at
Indiana University, Bloomington, United States.
The world premiere of the entire piece was in February 2003 in Paris.
Score Analysis with Commentary
In this sonata, the general advice from Uebayashi is to follow the dynamic
instruction faithfully and be aware of the color changes. The control of true pianissimo and
keeping the support of fortissimo could be a big challenge for most flutists due to multiple
reasons, such as technique difficulties or register tendencies on the flute. The flutist has to
be very thoughtful of the potential issues and compensate in order to achieve the ideal
dynamic plan. Besides presenting in different volume, the flutist also has to express
emotions within to strengthen the dynamics musically.
Color change is closely related to the awareness of piano part, or the harmony. Both
performers have to be extremely sensitive to the color change and agree with the musical
46
flow. Next, the commentary on each movement will be provided based on coaching from
Uebayashi, Ferrandis and Naoumoff, to give performance practice suggestions for flutists.
Throughout this analysis there will be performance practice advice intermixed within the
analysis.
I. Lento – Allegro moderato
Starting with a tender and sentimental slow introduction, the first movement,
Allegro Moderato, alternates between a melodic wave with great expression and a soft and
still second theme in the typical sonata form. (Table 4.1)
Table 4.1 First Movement Form: Lento – Allegro moderato
Section Introduction Exposition Letter B F I Measure 1-19 20-40 60-77 86 Theme Intro theme 1st theme 2nd theme Closing
theme Key c# min – G Maj c# minor E Major – modulations Tempo Lento Allegro Tranquillo Quarter note 72 120 76 96
Section Development Letter J K L M O P Measure 97 108 121 137 149 165 Theme 1st +2nd 1st T 2nd T 2 1st theme Key c# min Mod. Eb Maj c minor Modulation Tempo Calme Allegro Un poco meno mosso Quartet note 72 120 96 120
Section Recapitulation Letter Q R S Measure 181 190 202 Theme Intro theme 2nd Theme Key C minor E Major Eb Maj. – C# min Tempo Meno mosso Tranquillo a Tempo Quarter note 76
47
The Lento introduction reveals these essential motives throughout this sonata. They
are broken down into three categories; melodic, rhythmic and harmonic, each category
having several subcategories within (Example 4.1.1 A):
Melodic motives: A) up-fourth motive B) turn-around motive C) upward five-note motive
D) second down and fifth up motive (comes from the harmonic motive)
Rhythmic motives: A) dotted pattern motive B) four eighths and a quarter note motive C)
syncopation motive
Harmonic motives: A) major triad with second B) tertian chord with second
Example 4.1.1, mm.1-7
The above diagram shows the themes that will be used throughout the first movement of
this Sonata and will be referred back to when they appear later on in the work. As far as
performance practice ideas for the opening phrase, the flutist needs to adhere to the
dynamics deliberately. (Example 4.1.2) The forte to true pianissimo must be done in one
48
bar (m. 3), the flute has to show f, pp and mf along with crescendo and diminuendo within
five measures.
Example 4.1.2, mm. 3-7: flute opening phrase
Keeping the pianissimo is crucial, especially in m. 18 that the high D on the flute needs to be
as quiet as possible. The performer has to follow the dynamic instruction faithfully, and
avoid adding crescendo or diminuendo when it is not on the page and foresee possible
unintentional dynamic changes due to tendencies of the instrument. However, the
crescendo leading to the first theme in m. 19 could be delayed for a better effect, because of
the descending line and the natural tendency to get softer. (Example 4.1.3)
Example 4.1.3, mm. 17-21
In terms of color change, the G sharp moving from m. 3 to m. 4 should be played
differently based on the harmonies (A# half-diminished seventh to D major seventh).
Another example is mm. 11-12 (E minor triad to A flat major seventh), except it is under a
tie (Example 4.1.4). Be aware of not taking too much time in this example, keeping the flow
of the music constant, and only changing the tone color.
49
Example 4.1.4, mm. 3-4 and mm. 11-12: color change under the same note
Exposition
After the introduction of the first theme appears in m. 20, the motives (melodic and
rhythmic A and B) comprised from the introduction. For this melody it is the composer’s
suggestion that the flutist should sing the melody freely and show the different levels of
dynamics in each phrase. (Example 4.1.5) In m. 29, the flute starts to pass the melody and
interact with the piano. In the climax of the first section, keep mm. 48-51 fortissimo until
the pianist takes over the line.
Example 4.1.5, mm. 20-28: first theme
The erratum: mm. 22-23, the first two notes of the 16th note patterns on the piano should
start with A – a instead of c sharp – g sharp.
50
In contrast to the first theme, Uebayashi wants the second theme to stay soft and
still. (Example 4.1.6) The shape of the second theme has to be flat, which means the
dynamics should not be affected by the contour of melody.
Example 4.1.6, mm. 60-67: second theme
The composer’s idea here is for the music to stay calm, feeling the pain deeply inside but
not showing the suffering through musical expression. This should be done by having
steady control of the airstream speed. This calmness needs to be sustained throughout mm.
60-77, where the crescendo and dynamic rise up to forte only change the volume, but the
character of this section needs to stay the same. The music changes styles starting from the
bridge in m. 78, where mp quarter note=76 crescendoing and accelerating to forte quarter
note=96. This section needs to be worked on with the pianist to keep the balance until the
last climax of the Exposition in m. 86. After this climax Uebayashi suggested in mm. 88-90,
adding a crescendos to the long tone (high E) to keep the intensity of the music (Example
4.1.7); same suggestion should be applied to mm. 166-167 and mm. 171-172. If the added
crescendo causes problems with breath support, the flutist can take a breath before the
high A sharp in m. 87 if needed to keep the energy.
Example 4.1.7, mm. 86-90: flute part
51
Development
After the climax of this section we move on to the middle section, which is labeled
Calme in m. 97. Uebayashi mixed the previous themes so that the first theme is played in
the same style as the second theme. (Example 4.1.8)
Example 4.1.8, mm. 97-102: mixed theme
There is a sudden tempo change in m. 108, where the motive from the first theme is written
out in the right hand of the piano in sequences, in a scherzo-like style with staccato triplets
as countermelodies. (Example 4.1.9) The advice for the performers is to focus on the
structure of the phrase, and to unify the degree of crescendo and diminuendo so both
instruments are doing the same level of dynamics.
Example 4.1.9, mm. 108-111: first theme in Scherzo style
In m. 121, the texture is changed by the use of different articulation and complex rhythms
on both instruments. (Example 4.1.10) The long legato line and two against three feel give
52
fullness to the sound and propel the music forward. Here the melodic motive is taken from
the second theme but the feeling is like the first theme, happy and forward.
Example 4.1.10, mm. 121-124: second theme in the style of 1st theme
The next issue the flutist may encounter is where to breathe. For Uebayashi,
breathing is not a big concern most of the time. She prefers the flutist to keep the dynamic
and energy, take an extra breath if needed. Here are some breathing options suggested by
the composer: in m. 125 breathing before the high A on the first beat is better than before
the C on the fourth beat; in m. 136 breathing before the high F is better than breathing in m.
137 before the G, but ideally make mm. 134-138 in one breath (Example 4.1.11).
Example 4.1.11, mm. 121-138: breathing suggestion
In m. 137, both tempo and dynamics suddenly drop down; the music here is about the
tenderness and making the audience comfortable through the dialogue between flute and
piano. (Example 4.1.12)
53
Example 4.1.12, mm.137-142
This section then transits to the bridge starting in m. 145 that leads to the climax in m. 165.
The first four bars of the bridge the performers need a good plan for the accelerando that
then continuing through the sequences and a crescendo that builds up to the climax.
Recapitulation
The last section of the first movement recalls the theme from the introduction, but
in C minor, a half-step lower. During the sequence of this section the theme transposes
downwards instead of upwards like the opening theme does to close the section. (Example
4.1.13)
Example 4.1.13, mm. 181-184
In m. 190, we get a reoccurrence of the second theme but with slightly different feeling,
where the melody wants to grow, but can never quite grow. The music here is like a distant
memory, and the dynamic plan has been changed to stay mostly pianissimo with occasional
hairpin crescendos. Up until this point the flute melody is reminiscent of a faraway
atmosphere, but in m. 207, the flute line brings the audience back to the present with hope.
54
(Example 4.1.14) Harmonically, this is seen through the music moving from C minor (m.
206) to F sharp major (m. 208). During this section the flutist can differentiate the E flat in
m. 213 and D sharp in m. 214, by adding the left hand index finger (harmonic fingering) to
help the color change from being the note of half-diminished seventh chord to floating on
top of A major triad.
Example 4.1.14, mm. 206-215
II. Presto
The second movement is a scherzo in binary form, starting in A minor and ending in
A major. The flute and the piano simply play on E in a dialogue for the first four measures,
introducing the lightness and playful mood throughout the entire movement. (Example
4.2.1) E is the center note throughout the entire movement. As the common tone of the
starting and ending keys (dominant), E makes the transitioning between minor and major
smoother.
55
Example 4.2.1, mm. 1-5
The binary form of this movement is in ABAB form (Table 4.2). The motive in
section A features staccato sixteenth and eighth notes, in a minor. (Example 4.2.2) The
motive in section B is consistent running sixteenth notes, mostly stepwise with circling
motion, in C Major. (Example 4.2.3)
Table 4.2 Second Movement Form: Presto
Section A B A B Letter A E G I L M Measure 5 66 82 113 159 180 Motive a-staccato b-legato a+b a c b Key a minor C Major Mod. a min Gb Maj. C Maj- A Maj Dynamic p ff f pp mf mf
Example 4.2.2, mm. 6-9: motive A
Example 4.2.3, mm. 66-73: motive B
The most important thing of the second movement is keeping the tempo. From the
composer’s perspective, performers might choose different tempi based on their abilities,
from quarter note = 84-100, could go either slower or faster. Uebayashi would not mind if
the tempo is not played as marked only if the flutist can keep the beat steady.
56
The range of the movement is from pianissimo to fortissimo. Since there is such a
wide spectrum of dynamics, I would suggest the flutist to think each marking as a different
layer in the hierarchy of dynamics. Flutists also need to pay close attention to the
unevenness of dynamic caused by instrument tendencies, such as register differences or
interval leaps. For instance, the motive in section B should stay fortissimo, even though the
melody line moves up and down the register. The flutists needs to keep the dynamic
constant to give contrast to the previous motive in section A. (See above Example 4.2.3)
Another example is the forte in m. 167, where the dynamic has to be sustained for four
measures (Example 4.2.4). The natural tendencies for this passage would be to
diminuendo, but I would do a little crescendo to make this phrase sound like the same forte
throughout.
Example 4.2.4, mm. 166-170
The accents have to be exaggerated in both the flute and piano parts. Do not allow the
accents on weak-beats to change the tempo.
Articulation is another challenge for the flutist in the second movement. The major
issues will be having a clear staccato and having a smooth legato in different registers. For
staccato, keep the notes short and light in every dynamic level. To avoid cracking the high E
during this section, the flutist should lift up the right hand pinky to help the articulation. In
the legato sections of this piece, the flutist should focus on breath support and smooth fast
fingering.
57
Last, there are some passages with potential issues such as dragging or alignment
problems due to the rhythmic challenges or technique difficulties. These include; 1) the
flute and piano canon at [G], and 2) the transition to [K], both sections will require extra
attention from both performers. (Example 4.2.5 and 4.2.6)
Example 4.2.5, mm. 82-90
Example 4.2.6, mm. 136-144
III. Calmato
The third movement is Calmato in 6/4 with five flats implying D flat Major.
Uebayashi suggested that the performer think in a slow two rather than a fast six beat. This
will create the relaxed feeling Uebayashi wants without the music being too slow. One
special note from Uebayashi, if the third movement was programmed independently, the
tempo could be played slower than marked as the performer wishes. Otherwise, the
composer prefers to keep the tempo to be quarter note equals 96, to present the music like
an aria.
58
The third movement is in a ternary form (ABA’) (Table 4.3). In the section A, the
flute and the piano play two different themes simultaneously which will be exchanged in
the section A’. The piano starts the theme A in mp (Example 4.3.1), with the flute joining in
with theme B in m. 5 (Example 4.3.2). The dynamic marking in the flute part is an error: it
should be mp not p. The first chord in the piano sets up the essential motive for this entire
movement melodically and harmonically – this interval of perfect fifth and major second is
derived from the harmonic material seen in the introduction of the first movement. When
the chord is unfolded horizontally, the same intervals are used in both theme A and theme
B.
Table 4.3 Third Movement Form: Calmato
Section A B A Letter A B C D E F G H I J Measure 1 13 23 27 39 47 59 64 72 87 Theme–Flute B A C A’ A+B A A’ A Piano A B A C’ C” B B A A” Key DbM C m Mod C#m F m BbM DbM Fm Gm-fm Dynamic mp pp p pp < ff ff pp mp pp < p
Example 4.3.1, mm. 1-4: theme A/ first chord
Example 4.3.2, mm. 5-8: theme B
59
Compared to section A, section B is more flowing through the use of eighth notes in
stepwise motion. In m. 27 the flute begins a new theme in C minor with downward scale-
like gestures, labeled Theme C (Example 4.3.3). The five-note motive is taken from the flute
entrance in the first movement, in a retrograde form. One can see more clearly when it is
transposed to C sharp minor in m. 32. (Example 4.3.4) Besides the active thematic
development, the dynamic range is also expanded to fortissimo in section B.
Example 4.3.3, mm. 26-31: theme C
Example 4.3.4, mm.32 and Five-note motive from 1st movement
The phrasing follows the legato line. However, there are some breathing suggestions
for the flutist in section B. For instance, do not take a breath on the bar-line between mm.
29-30, mm. 33-34, and mm. 35-36. Instead, take a breath after the downbeat of m. 31, m. 34
and m. 36. (Example 4.3.5)
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Example 4.3.5, mm. 28-36: breathing suggestion
IV. Allegro
The fourth movement is in meter 4/4 in A major. The tempo marking is half
note=72, but Uebayashi suggests performers to think in four rather than in two for the
music intensity. In the original plan, there was only a two-bar introduction in the piano
part before the flute entrance. Uebayashi wanted this movement to be attacca from the
third movement. However, Ferrandis felt that there was not enough time to prepare
himself, so Uebayashi added two more measures with a diminuendo in the introduction to
set up the tempo and ambience.
The fourth movement is in a typical Rondo form: ABACA (Table 4.4)
Table 4.4 Fourth Movement Form: Allegro
Section A B A C A Coda Letter C E F H J K M O Measure 1 37 56 71 103 131 158 176 196 Theme a a’ b a c c’ c+c’ a a/a’’ Key A Maj a min -- A Maj a min -- C Maj A Maj --A Dynamic mf/m
p p ff/f mf/mp p mp f mf/mp mf<fff
In the principal theme, the scale-like five-note motive and ascending fourth intervals
are the main melodic material for this section. These motives come from the melodic
material from the introduction of the first movement. (Example 4.4.1)
61
Example 4.4.1 (A) mm. 4-5: principal Theme on Flute
(B) mm. 1-3: first movement
The two rhythmic motives (A) dotted figure (B) syncopation can be seen on both the flute
theme and piano part (Example 4.4.1 and 4.4.2). These are derived from the first
movement and developed throughout the last movement.
Example 4.4.2, mm. 1-3: rhythmic motives on piano
The principal theme is usually repeated in section A: the first time is flute only at mf; the
second time the flute starts at mp and passes to the piano at f.
In section B, the theme is presented in canon on both instruments, in A minor. (Example
4.4.3) After the canon, the music continues to build up through crescendo sequencing until
the arrival in m. 56. The erratum: the piano should play D flat instead of D natural in m. 16;
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mm. 37–42, the piano should play F sharp instead of F natural; in m. 43, the piano should
play the F natural as written.
Example 4.4.3, mm. 37-40: theme A’ in section B
Another dynamic clarification is that the first eighth note in m. 53 on the flute, belonging to
the previous phrase which should stay at f. (Example 4.4.4) This also applies to the piano,
which can be seen in the score but is unclear on the flute part.
Example 4.4.4, mm. 52-56
Toward the end of section B, triplets are added in m. 58, labeled theme B. (Example 4.4.5).
Subsequently, this motive is widely used in section C. In the transition to section C,
Uebayashi relaxes the music by changing the articulation, decreasing the rhythmic intensity
and by diminishing dynamics.
Example 4.4.5, mm. 58-60: theme B on flute
In section C, the piano keeps the same rhythmic pattern from the beginning with a
lighter texture. The change in atmosphere in the accompaniment comes from the transition
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from A major to A minor and the circular bass motive to the downward motion. During this
accompaniment, the flute continues to develop the triplet motive. In m. 111, the right hand
of piano starts to play in canon with the flute. Two melodies intertwined finally, reaching a
unison on the third beat of m. 117. (Example 4.4.6)
Example 4.4.6, mm. 115-117
Here, Uebayashi wants the accented eighth note to be played very dry and sharp, same idea
also applies to m. 119 and m. 120. The general style of section C is to keep the eighth notes
short whether with accent or not, and to stop the music completely on the rest and restart
after the silence. The erratum: from m. 121, the letters are off between the flute part and
the score, and [I] is missing in the piano part. Letters in the flute part are correct. However,
starting with the marked [J] in the piano part, all letters are off by one letter.
The middle part of section C starts from m. 131. The theme in this section is written
in legato sequences that crescendo and lead to c minor in m. 158, the last part of section C.
In this last section, Uebayashi integrated the thematic materials from the previous
passages, including triplets, syncopations, eighth-note staccato, legato passages that cross
the bar-line, and canons. (Example 4.4.7) Uebayashi continued this sections with a
repetitive motive that ultimately leads to the final section A in m. 176. At the last
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presentation of this section, the coda functions as the last climax, starting on the theme in G
major in m. 196, moving to A flat in m. 202, and finally ending in A Major.
Example 4.4.7, mm.158-161: last part of section C
In summary, after studying this Sonate, one can truly learn the style of Uebayashi’s
music, and perceive the affection behind her musical language. From the compositional
perspective, Uebayashi used the same motives throughout the piece. Nevertheless, each
movement has its own characteristic: dolce, playful, sentimental, and spirited. This is done
by Uebayashi’s motivic development and transformation, where the motives were written
in various sentiments with different colors. Even within her use of traditional musical
forms, Uebayashi is able to compose her works upon her feelings through tuneful melodies
and tonal harmonies, yet the only aim for Uebayashi is to express deep emotion.
The most significant part of this Sonate, however, is the integration of three different
musical styles from Uebayashi, Ferrandis and Naoumoff, thus creating music that is more
than just from the composer. From performer’s perspectives, the difficulty of this sonata is
very high, since it is personalized for two great musicians. Professional technique is
required for both the flutist and pianist. Last but not least, this Sonate connects the
composer, performers and audience together. The music goes further than the written
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notes on the pages; the uniqueness comes from what the performers’ understanding of the
piece and how they wish to convey that to the listener. There is no absolutely right way to
interpret this sonata. If the performers focus on the details and truly try to feel the music,
the deep emotions Uebayashi wanted to portray will be faithfully reflected and delivered to
the audience.
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CHAPTER V: LE MOMENT DU CRISTAL
Conception
Composed in 2012, Le Moment du Cristal (クリスタルの時) is Uebayashi’s latest
work for solo flute and piano, and it was dedicated to Japanese flutist Seiya Ueno. The title
gives some implications about the composer’s intentions for the music to showcase Ueno’s
playing - pure as crystal and precious as time. This is a single-movement work about twelve
minutes long, consisting of three sections with a cadenza before the last part.
The main reason Uebayashi was intrigued by Ueno’s playing was his sparkling
musicality and brilliant techniques that she first encountered hearing Ueno’s playing at the
Rampal Flute Competition. When Uebayashi heard Ueno again in a flute master class by
Marina Piccinini in spring 2012, she decided compose a piece for him. At that time, Ueno
was playing Bach and Prokofiev Sonata, and Puccinini made comments about his
interpretation being too unsophisticated. On the contrary, Uebayashi was inspired by the
unique musicality of Ueno, mainly his innocence, purity, passion and virtuosity of his
playing. She was so prompted at that moment, so she composed Le Moment du Cristal as
quickly as she could for Ueno at age 24. The piece suits his personality and makes him be
himself.
It was urgent for Uebayashi to compose at that particular moment as to capture the
young and talented Ueno. This accelerated type of compositional process is different from
what she has done before. Uebayashi started composing in the middle of July and finished
the piece in the end of August. Soon after, Ueno premiered in September and recorded in
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April of next year. The process was trying to capture the moment Uebayashi wanted to
portray.
The program note from the premier is as following:45
The first time I heard Seiya perform was at the Rampal International Competition in 2008. Seiya’s fully romantic style of playing strongly spoke to my mind, and never disappeared. After that, in Paris, I fortunately had the chance to hear Seiya perform again. His music is Seiya himself every time. It is not anything that comes from somewhere else. What a fresh sensitivity!! Everything vividly sparkles, and both sadness and happiness are way too beautiful!! And every time I listen, his playing changes.
Suddenly, lightening streaked across the sky. I wanted to compose music for current Seiya. By composing a piece that would compliment his playing, I wanted to get close to his young sensitivity, even just a little. At the same time, this piece was a challenge to myself if my music can resonate with his sensitivity.
I started composing this piece in the middle of July of 2012, and almost completed in the end of August. I feel like I’m empty after putting all my soul into the every corner of this piece. The present Seiya is just like “the moment of crystal.”
My idea was, the piece would be three-part, and I hoped this music would have young passion, transitoriness, saltation, sadness, and every part of brilliance. After sunset, the west side of sky gets gentle pink in a moment. A silence of the end of a day and a feeling of rebirth of tomorrow will cross there. I hope you will feel something like that at the end of the piece.
Premiere
Flute - Seiya Ueno, Piano- Takaya Saono
Kioi Hall in Tokyo, Japan, September 2012
45Seiya Ueno, Digital Bird Suite. Denon, Nippon Columbia, CD 2013.
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Compositional Inspiration
Flutist – Seiya Ueno
Born in Tokyo in 1989, Ueno started playing the flute since the age of nine. He
graduated from Tokyo Metropolitan High School of Music and Fine Arts, National
University of Music and Fine Arts, and the Conservatoire National Supérieur de Musique de
Paris. He studied with Yuko Yamada, Megumi Horie, Sabine Seyfert, Kazuo Tachikawa,
Chang-Kook Kim, Philippe Bernold, Vincent Lucas and Sophie Cherrier.
Seiya Ueno performed the Reinecke Concerto with Orchestre National d’Ile de
France after winning the 2008 Jean-Pierre Rampal competition. He has also appeared as
soloist with Tokyo Symphony Orchestra, Czech Philharmonic Octet, and New Japan
Philharmonic. Ueno has recorded three compact discs: Kaleidoscope (2012), digital Bird
Suite (2013) and Into Love (2015), released by Denon, Nippon Columbia Co. Ueno is
currently in Munich, and continues to perform in France, Japan, and many other countries
throughout Europe and Asia. Recently, Ueno gave debut recitals at Kennedy Center Terrace
Theater and Carnegie hall in October 2015.
Score analysis with commentary
The overall structure of Le Moment de Cristal is broken down into three sections
with a cadenza. The first is section A (Moderato), the second is section B (Allegro) slowing
down to the flute cadenza, and back to Tempo primo for section C. The tonal plan of the
work starts in E minor and ends in E major with section B quickly switching between major
and minor keys. This was done without the use of traditional key signature and functional
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harmony. Instead, Uebayashi put accidentals on the notes. In addition, the use of drones on
the piano helps set up the tonal background, and the downward stepwise movement in the
bass directs the music flow and changes the color of the work.
Table 5.1 Structure
Section A B Cad. C
Measure 1 32 70 102 143 180 237 269 317
Letter C G J N R W X AA
Motive a b a + b c d e a f a+f
Key e min. e-D-e e flat min. G flat c min. E Maj E flat-E
The piano opens the piece, written in three treble clef staves, one for the right hand
and two for the left hand, which only appears in the first part of section A (Example 5.1),
the rest of the piece is in normal grand staff notation.
Example 5.1, mm. 1-2
The role of the piano is an accompaniment that creates a transparent atmosphere, starting
with a drone on B that is repeated every two measures. At the same time, the upper two
lines play inner-changing sixteenth note, which eliminates the feeling of rigid bar lines. The
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flute sings the Sicilian-like first theme starting with a pick-up to m. 3, in E minor, which
reappears later throughout section A with additional ornamentations. (Example 5.2)
Example 5.2, mm. 1-15: first theme on flute
For example, the first theme in m. 16 stay in the same key but is elaborated with flourishing
sextuplets above a new drone of A; starting in m. 48 the theme begins in the low register,
which expands the range throughout this statement of the melody above a new drone on C;
in m. 70 the theme is written half-step lower but in the third octave at a dynamic marking
of fortissimo; the last instance of this theme is seen in m. 254, where the motive of first
theme becomes the part of the flute cadenza. Uebayashi was able to keep the interest of the
listener by the subtle differences in the flute melody as it changes in dynamics, tonality, or
ornamentations to the melody.
Contrasting to the legato and lyric first theme, the second theme of section A is
staccato and full of leaps and accents. (Example 5.3) The rests and accents are staggered on
the flute and the piano, keeping the music moving lively without clear meter indications.
The first presence of the second theme starts in m. 32 in E minor and moves to D major in
m. 38 and continues to shift between major and minor keys until Uebayashi combined the
first theme and second theme.
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Example 5.3, mm. 30-33: second theme
Uebayashi mixed both themes together in the climax of section A in m. 70, where the flute
plays the first theme, and the piano has the motif from the second theme with a thicker
texture. (Example 5.4) This goes on till m. 84, where the second theme comes back in C
Major and transits to section B by accelerating a crescendo, and by using a hemiola.
Example 5.4, mm. 70-75: first theme on flute and second theme on piano
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In section B, the energetic outer parts encompass a soft and dolce middle passage.
The first outer part in Allegro section has a strong pulse with many accents. The melody is
extracted from a variety of melodic gestures based the previous motives seen in section A
with different articulations. (Example 5.5) The music sounds playful because of the metric
displacement of the melodic pattern and the use of syncopated accents, with many rests on
strong beats, and hemiola patterns in m.117, m.121 and m.130. (Example 5.6)
Example 5.5, mm. 102-105: motive c in section B
Example 5.6, m. 117 and m. 130: hemiola
The interaction between the flute and the piano is either in canon, in dialogue or unison in
pulse, carrying the music forward. The dramatic effect is created by the sudden dynamic
changes seen through accents, such as sub. p or quick crescendos. In the middle part (mm.
143-171), the piano begins with four-bar phrases with short motivic figures in the right
hand joined shortly after by the flute with longer lines based on the same motivic figure.
(Example 5.7) The theme is presented in inversion, fragmentation and augmentation in
note value with the dynamics ranging only from p-mf, and the articulation stays legato for
the entire of the passage.
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Example 5.7, mm. 143-146: motive d in section B
After the soft dolce middle passage of this section, section B ends with a fast and
articulation passage that frequently uses hemiolas with crescendos (m. 193, m. 195, mm.
199-203, etc.), repetition of rhythmic patterns, and sequences in different keys. The
continuous 16th notes agitate the music much more than in the first passage of this section.
Starting in m. 217 the flute has consistent 16th notes at fortissimo for six bars that leads the
transition into the flute cadenza. The music calms down with a lingering pattern that
diminuendo from m. 224, leading to the flute cadenza in m. 237. The 32-bar cadenza begins
with the tempo primo, mainly quoting the first theme. The flute stays mostly in the middle
register within legato, producing a simple singing style much different from standard
cadenzas where the soloist’s virtuosity is showcased. In this cadenza Uebayashi wanted to
emphasize the beauty of Ueno’s pure tone. The only musical tension comes from the
dynamic changes ranging from pianissimo to fortissimo.
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Example 5.8, mm. 238-268: flute cadenza
Toward the end of the cadenza the pianist joins in at ppp when the flute holds a long
tone on middle A, which begins the section C. In the last slow section, the music character is
placid by the use of slow flute lines and repetitive transparent patterns on the piano. The
dynamic starts from ppp in m. 269, slowly getting louder until the final dynamic marking of
fff in m. 317, and diminuendo to pppp till the ending in m. 350. At first, the piano repeats
the circular pattern on each beat, (m. 268, m. 275), then elongates that circular pattern to
each measure (m. 284, m. 286, m. 288), then expands even more to two measures (m. 291).
The motion is steady with only subtle changes that somehow hint to minimalism. The
stepwise moving bass starting in m. 269 (F# – E –Eb – D – C# – C – B – Bb – A) slowly
moves down accompanied by a long crescendo to the last climax in m. 313 of the piece. This
downward motion is then in contrast with the flute’s intervallic movements by seconds or
fourths/fifths, which is the same intervallic motives from the beginning of the piece.
(Example 5.9)
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Example 5.9, mm. 267- 275: motive f in section C
These movements seen by the flute and bass slowly built up the musical tension by raising
the dynamics and textures, until the flute crescendo climaxes at fff in m. 317. The piano
then takes over the melody, which is reminiscent of the first theme of Section A. The last
part of section C, flute dominates softly in the first theme (m. 329) with the piano playing
the second theme (m. 341), ending in E major.
In conclusion, Le moment du Cristal is so limpid, presenting the beauty of the flute.
From overall structure, dynamic scheme to thematic development, the music is composed
in a balanced and symmetric manner. Generally, Uebayashi develops short motivic
elements in every of three sections, showings the simplicity of the music. In the slow and
lyrical passage, the arch of the melody flows naturally with transparent accompaniment. In
the fast section, the simple motif is reinforced by the rhythmic repetition. The music is
straightforward in Le moment du Cristal. Even with contrast styles between different
themes and sections, Uebayashi made the transition smoothly from one passage evolved to
another one, by developing the rhythmic patterns and gradually changing the tempo and
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dynamics. From a performer’s perspective, the music showcases the purity of flute sound,
the singing style of the flutist and the articulation and finger techniques of the performer.
The performer should keep the simplicity of music, and the piece will sing for itself.
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CHAPTER VI: CONCLUSION
The purpose of this document is to introduce Yuko Uebayashi, and to provide formal
and performance analysis on three of her flute compositions. The three compositions are A
Romance of Orcia for Nobutaka Shimizu, Flute Sonate for Jean Ferrandis, and Le moment du
Cristal for Seiya Ueno. Each work was deeply influenced by the musicians she wrote for,
allowing her to showcase each performer’s distinct characteristics, which are pinpointed
throughout my research. Among many of Uebayashi’s flute works, these three selected
pieces are also representative of the composer’s different approaches in 1990s, 2000s and
2010s, respectively. I have labeled these periods early Uebayashi, absolute music, and a
combination of the two.
A Romance of Orcia represents the early Uebayashi’s style, characterized by
programmatic music based on imagery. The music in this style is organized by small
motives with each movement having its own specific motive. This results in a musical style
that is descriptive and objective. Then in the 2000s Uebayashi composes The Sonate, which
is the turning point in her career where she transitions to absolute music written in typical
classical music genres. In this style Uebayashi uses traditional forms, featuring individual
unique themes that are tied together by the same intervallic and rhythmic movement
creating a cyclic form. This composition shows Uebayashi moving away from
programmatic music to music that is based on emotions that is subjective and allows for
personal expression. This transition also allowed for bigger contrasts in dynamics and
styles within each movement compared to early Uebayashi where she was restricted by the
imagery she was composing for. The final composition of Uebayashi researched in this
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document was Le moment du Cristal, which represents her third period of composition,
which may be considered as a combination of the two earlier periods. Here she combines
the two previous approaches by using a programmatic type approach, like her early
composition style, and using traditional forms and thematic developments that ties this
work to her absolute music. This single movement work focuses on a programmatic title,
“The Crystal Moment,” which does not give the listener a very clear image like Romance of
Orcia, but instead symbolizes Seiya Ueno, the flutist the piece dedicated to. There is also a
clear combination of Uebayashi’s previous two styles in terms of her composition
techniques where she utilizes both pattern-oriented passages, like her early style, and
melodic writing, like her absolute style.
Uebayashi’s music has been such an inspiration to me that I wanted to do my
doctoral project on her to introduce her music to more people. Before I began my research,
Uebayashi’s music was, to me as an audience member, simply a pleasure to listen to, and as
a flutist, I was amazed by how much one could express when performing her music. After
researching Uebayashi’s life and music and speaking with her for countless hours, I realized
that there is much more depth to her musical compositions and compositional styles; I
hope everyone will continue to learn about her music and appreciate it as I do.
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BIBLIOGRAPHY
Scores
Uebayashi, Yuko, Sonate pour flute et piano, Paris: Leduc, 2012 ____________, A Romance of Orcia ____________, Le moment du Cristal ____________, Les Sentiers - cinq recueils pour flûte et piano. Recordings Shimizu, Nobutaka, and Jean-Michel Damase. Music of Jean-Michel Damase and Yuko
Uebayashi. WWCC-7434. CD. 2002. Uebayashi, Yuko, L'oeuvre pour flute, Jean Ferrandis, Donatas Katkus and Svento Kristoforo
kamerinis orkestras. Paris: EuropeArt: Integral distribution. CD. 2007. Uebayashi, Yuko and Chiaki Yoshida. Four Season of the Lake 湖の四季, Umibue-no-kai
conducted by Akira Aoki and Nobutaka Shimizu, Dolce Music Production DOL1003. CD. 1997.
Ueno, Seiya, Digital Bird Suite. Denon. Nippon Columbia, COCQ85021. CD. 2013. Books Burkholder, J. Peter, Donald Jay Grout and Claude V. Palisca, A History of Western Music,
eighth edition. New York: W. W. Norton & Company, 2010. Carpenter, Juliet Winters. Seeing Kyoto. Tokyo: Kodansha International. 2005. Davies, Roger J., and Osamu Ikeno, The Japanese mind: understanding contemporary
Japanese culture. Boston: Tuttle Pub. 2002 Dorgeuille, Claude, and Edward Blakeman. 1986 The French Flute School: 1860-1950.
London: Bingham. Dougill, John. Kyoto: a cultural history. New York: Oxford University Press. 2006. Jarociński, Stefan. Debussy, impressionism and symbolism. translated from the French by
Rollo Myers, London : Eulenburg Books, 1976.
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Kapayim, Nikki. Impressionism in Music and the Arts. Morris Moore series in musicology, 5. Silver Spring, Md.: Shazco. 1989.
Kennedy, Michael. "Impressionism" in The Oxford Dictionary of Music, second edition,
revised, Joyce Bourne, associate editor. Oxford and New York: Oxford University Press, 2006.
Lester, Joel. Analytic approaches to twentieth-century music. New York: W.W. Norton,
1989. Naoumoff, Emile. My Chronicles with Nadia Boulanger. Gregory Martin Littérateur
Copyright © 2015. http://www.emilenaoumoff.com/ Palmer, Christopher. Impressionism in music. London, Hutchinson, 1973 Journals Kanazawa, Masakata and Yasuko Todo. “Collections of Western Music in Japan: An
Introduction.” Fontes Artis Musicae, Vol. 56, No. 3 (July-September 2009): 282-286. Jicha, Victoria. “The Artistry of Jean Ferrandis” Flute Talk 29.8 (Apr 2010): 6-11. Dissertations Hay, Katherine, “East Asian Influence on the Composition and Performance of
Contemporary Flute Music.” Doctoral diss., Columbia University Teachers College, 1980.
Kniesner, Virginia Elizabeth. “Tonality and form in selected French piano sonatas, 1900-
1950.” PhD thesis, Ohio State University, 1977. Lee, Chia-Jui. “Flute music from the mid-twentieth century by three French
composers: Jean-Michel Damase, Andre Jolivet, and Henri Tomasi.” Doctoral diss., University of Maryland, 2009.
Rusli, Robert O.. “Hisaishi’d Away: An Analysis of Joe Hisaishi’s Film Scoring
Technique” BA thesis, Wesleyan University, 2010. http://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?article=1407&context=etd_hon_theses (access 10 March 2016)
Interviews
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1. Personal Interview in 9 August, 2014, Chicago, IL.
2. Uebayashi Recording session of Au dela du Temps and Town Light by Carol Wincenc
and Tanya Witek, flute and Steve Gosling, piano, The Academy of Arts in 22 March 2015, New York, NY.
3. Coaching and interview in 24 March 2015, New York, NY.
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APPENDIX: LIST OF FLUTE WORKS BY YUKO UEBAYASHI
Title Instrument Publication
花霞 Hanagasumi (1997) Flute orchestra Uebayashi
街の灯 Machi-no-Hi
(Town Light) (1997)
Fl orchestra/ 2 Flutes, piano/ Fl, ob and pn
Uebayashi
めぐり雪 Meguri-Yuki (1997) Flute orchestra Uebayashi
Le Vent À Travers Les Ruines (1998) Flute Henry Lemoine
A Romance Of Orcia (1998) Flute, piano Uebayashi
Les Sentiers – A Sketchbook for flute and piano (2000)
Flute, piano Uebayashi
Au Delà Du Temps (2002) 2 Flutes, piano Alphonse Leduc
I - La lemiere lointaine de nuit IV - La lemiere tournante dans le revet
Flute orchestra Uebayashi
Romance of Stars (2002) Flute, harp Uebayashi
Sonate (2003) Flute, piano Alphonse Leduc
Suite (2004) Flute, cello Alphonse Leduc
Concerto (2006) Flute, string orchestra
Uebayashi
Le moment du Cristal (2012) Flute, piano Uebayashi
Misericordia (2013) Flute, strings quartet
Uebayashi
